THE GROWTH OF THE 
IDYLLS OF THE KING 



r 

RICHARD JONES, Ph.D. 

Professor of English Literature in Swarthmore College 



" Urn das Gedicht zu verstehen, muss man vor allem 
seine Entstehung kennen,"— Kuno Fischer 






PHILADELPHIA 

J. B. LIPPINCOTT COMPANY 

1895 






7"K 



r U 



3"t 



^r. 



Copyright, 1894, 

BY 

Richard Jones. 



Printed by J B. Lippincott Company, Philadelphia, U.S.A. 



»t 



TO 

PEOFESSOE J. SCHICK, Ph.D., 

PROFESSOR OF THE ENGLISH LANGUAGE AND LITERATURE 
IN THE 

UNIVERSITY OF HEIDELBERG. 






PREFACE. 



When our poet, holding in his hand a flower 
plucked from the crannied wall, cries, if he could 
understand it " root and all" he would then know 
what God and man is, he is affirming poetically 
that the process and the law of the mystery of 
growth is the key to the secret of the universe. 
He said well, therefore, who said that only when we 
understand the conditions under which a truth or a 
poem arose, or a political or philosophical system 
came to he, do we in reality understand what that is 
which has come to be. Or, as Professor Kuno Fischer 
has said, "To understand this poem ['Faust'] we 
must first of all understand its origin." 

The subject-matter of the " Idylls of the King" 
grew and the poem itself grew, — the subject-matter 
during many hundred years, the poem during a half- 
century. This volume is a discussion of the growth 
of Lord Tennyson's version of the Arthur legend, — 
a version which may prove to be the classic English 
version of poetic material which has entered so 
largely into the 4iterature of all European nations. 

The effect of reflection upon the extent of this 
poetic material, these wide-spread legends, this 
stream of international poetry, is a disregard of the 
criticism that Lord Tennyson's ideal knight and 

5 



6 PREFACE. 

blameless king is not the Arthur whom we knew 
through Malory. In chapter i., section 4, there is 
an attempt to show that Tennyson's obligations to 
Malory have been overestimated, especially in the 
case of his Yivien, who can hardly be derived from 
Malory's lady of the lake, Nimue. The basis of 
chapter ii. is some early proof-sheets in the South 
Kensington Museum, and a printed copy, believed 
to be the only copy in existence, in the British 
Museum. The variations in these early texts, in- 
cluding also the MS. revisions not adopted, have a 
value to those who would therefrom discover the 
method of workmanship of this master of English 
metre, who is ranked in this respect among the 
greatest of English poets. In chapter iii. there is 
demonstration that the plan of the poem grew as 
the poet wrought. Finally, by determining the date 
of the various parts of the poem, we learn the poet's 
final view of life as expressed in this poem, and 
understand now why, notwithstanding the lines 
(written in early manhood) celebrating the power 
of prayer, the " Idylls of the King" closes with the 
darkness of that battle in the west where all of high 
and holy dies away. 

I desire to express my obligations for many favors 
to Professors Ehys and Napier of the University 
of Oxford, to Professor Bulbring of the University 
of Groningen, and to Dr. Garnett of the British 

Museum. 

Eichard Jones. 

Swarthmore College, December, 1894. 



CONTENTS. 



CHAPTEE I. 

THE SUBJECT-MATTER OF THE IDYLLS OF THE KING. 

PAGE 

1. A Similarity to Goethe's " Faust" 9 

2. The Methods of Exposition applied to Goethe's 

"Faust" 14 

3. The Arthur Legend, its Development and Dissemina- 

tion .... 20 

4. The Necessity for finding Tennyson's Sources, and the 

Method 28 

5. Tennyson's Use of his Sources, and Comparisons 

with other Treatments by other Poets 42 

CHAPTEE II. 

THE BEGINNINGS OF THE IDYLLS OF THE KING. 

1. A Description of the Early Copies 44 

2. The Variations in the Early Texts 50 

3. Manuscript Eevisions not adopted 58 

4. A Summary of Variations in the Text 60 

5. A Discussion of the Variations in the Text 100 

CHAPTEE III. 

THE COMPLETED IDYLLS OF THE KING. 

1. The " Idylls of the King" as an Organic Unity ... 113 

2. A List of Variations between the First Editions and 

the Last Edition of the " Idylls of the King" . . 115 

7 



8 CONTENTS. 

PAGE 

3. The Growth in the Plan of the Poem as indicated by 

the Changes made in the Language 133 

4. The Growth in the Plan of the Poem as indicated by 

the Changes made in Consequence of the Introduc- 
tion of the Allegory 140 

6. The Philological Study of the Poetry of Tennyson . 147 

APPENDIX. 

1. A Hitherto Unpublished Version of Tennyson's "To 

the Queen" 152 

2. Tennyson's Punctuation and Use of Capital Letters . 155 

3. Is there another '57 Copy in Existence? 159 



THE GROWTH OF THE 
IDYLLS OF THE KING 



CHAPTEE I. 

THE SUBJECT-MATTER OF THE IDYLLS OF THE KING. 

1. A Similarity to Goethe's "Faust." 

The " Idylls of the King," the noblest creation of 
Lord Tennyson's genius and the foundation of his 
highest fame, has been pronounced to be, not only 
this illustrious poet's greatest achievement, but also, 
indeed, one of the greatest poetical creations of the 
century. | Of the first series of this poem Gladstone 
wrote in 1859 that the chastity and moral elevation 
of this volume, perhaps unmatched throughout the 
circle of English literature in conjunction with an 
equal power, recall the celestial strain of Dante. 
"Let those," he continued in glowing words, "who 
fear that the age of poetry is past, study this vol- 
ume. Of it we will say without fear, what we 
would not dare to say of any other recent work, 



10 IDYLLS OF THE KING. 

that of itself it raises the character and the hopes 
of the age and the country which have produced it, 
and that its author, by his own single strength, has 
made a sensible addition to the permanent wealth of 
mankind."* 

To perceive more clearly exactly what this sensi- 
ble addition is which Lord Tennyson has made to 
the permanent wealth of mankind, one may, doubt- 
less, study to advantage the " Idylls of the King" 
in relation to its sources and the manner of the 
poet's use of these sources, in the same way as 
Goethe's "Faust" has been studied, with rich re- 
sults, with reference to its origin and its composi- 
tion as well as with reference to its fundamental 
idea. \For Tennyson did not invent the subject- 
matter of the " Idylls of the King," — viz., the mass 
of legend of various origin centering finally about 
the person of the Celtic hero, King Arthur, — these 
ideals of the centuries which he has woven together 
and, to some extent, transformed in retelling, — as 
Groethe did not invent the Faust legend which lies 
at the basis of his world-poem, or Homer the semi- 
legendary, semi-historical tales, which were given 
their final setting in those 

records of heroic deeds 
Of demi-gods and mighty chiefs, 

the "Iliad" and the "Odyssey." 

And, therefore, the methods of interpretation 

* The Quarterly Review, London, October, 1859. 



THE SUBJECT-MATTER OF THE IDYLLS. 11 

and exposition which have already been applied to 
Goethe's " Faust" may properly be applied also to 
Lord Tennyson's " Idylls of the King," as this like- 
wise is a poem the subject-matter of which is largely 
the product of the imagination, not of the poet, but 
of the people, indeed, of many peoples widely sepa- 
rated in space and in time. The method of treat- 
ment would, manifestly, differ in the case of a poem 
struck off by the poet himself in a glow of inspira- 
tion, and in the case of a poem through which thus 
speaks the voice of the race.* In the interpreta- 
tion of a poem like Goethe's u Faust" or Tennyson's 
" Idylls of the King" there would properly be large 
emphasis placed upon this contribution of the race 
to the poem. 

Kuno Fischer, professor of philosophy in the Uni- 

* Keferring to the development of national poetry, Ten 
Brink says, u But herein lies the essential difference between 
that age and our own : the result of poetical activity was not 
the property and not the production of a single person, but of 
the community. The work of the individual singer endured 
only as long as its delivery lasted. He gained personal dis- 
tinction only as a virtuoso. The permanent elements of what 
he presented, the material, the ideas, even the style and metre, 
already existed. The work of the singer was only a ripple in 
the stream of national poetry. Who can say how much the 
individual contributed to it, or where in his poetical recitation 
memory ceased and creative impulse began ! In any case the 
work of the individual lived on only as the ideal possession of 
the aggregate body of the people, and it soon lost the stamp 
of originality." — Ten Brink, " History of English Literature," 
p. 13. Henry Holt & Co., New York, 1889. 



12 IDYLLS OF THE KING. 

versity of Heidelberg, in his famed lectures on 
Goethe's " Faust" upholds the principle that Bichter- 
stoff, the material of poetry, cannot be manufactured 
to order, averring that the interest of man is short- 
lived in that which has not already lived long in his 
imagination, that which he has not inherited, experi- 
enced, enjoyed, or endured. " Genuine poetic material 
is handed down in the imagination of man from gen- 
eration to generation, changing its spirit according to 
the spirit of each age, and reaching its full develop- 
ment when in the course of time the favorable con- 
ditions coincide." He then emphasizes Goethe's 
good fortune in lighting upon a national legend, 
which was, as he was writing, still eagerly rehearsed 
at the fireside circle; and whose subject-matter was 
of national religious interest, because Dr. Faustus, 
who sold his soul to the Devil, was in the minds of 
the people in every way the antitype to Dr. Luther, 
who resisted the Devil and threw his inkstand at 
him in the castle of the Wartburg. This incident 
occurred in the same year in which, according to the 
legend, Dr. Faustus bargained away his soul for a 
career of pleasure in this world. Or rather, the date 
of the events in the great reformer's life determines 
the dates assigned in the legend to the wicked career 
of the great magician, who was to the people in every 
way anti-Lutheran, and whose career was, therefore, 
in their rehearsal of the facts of his life, made to 
contrast with that of Dr. Luther, the national hero. 
So great was the popular interest in the Faust 
legends and so attractive, therefore, was the theme 



TEE SUBJECT-MATTER OF THE IDYLLS. 13 

to aspiring poets, that, to say nothing of innumer- 
able earlier prose versions, some seventy recent more 
ambitious poetic versions have " dared to vie" with 
that given by Goethe, but all in " the light of the 
great star of literature have quickly paled." 

Likewise the subject-matter treated by Tennyson 
in the " Idylls of the King" has been the theme not 
only of myriad mediaeval poems, but also of Tenny- 
son's contemporaries and successors at home and 
abroad, of Lord Lytton, William Morris, Matthew 
Arnold, Eobert Stephen Hawker, and Algernon 
Charles Swinburne, of Edgar Quinet in France, of 
Karl Immermann, F. Eoeber, L. Schneegans, and 
Wilhelm Hertz in G-ermany, of Eichard Hovey in 
America. There have been many other approved 
variations on Arthurian themes, such as James Eus- 
sell Lowell's " Vision of Sir Launfal," and Eichard 
Wagner's operas, "Lohengrin," " Tristan und Isolde," 
and " Parsifal." 

And as the genius of Goethe has given us the final 
form of the Faust story, in which Faust is saved, 
this transformation of the Faust legend by Goethe 
making it a world-poem, so, perhaps, Lord Tenny- 
son's " Idylls of the King" may prove to be the ac- 
cepted version in one whole of antique legends puis- 
sant still, which have furnished exhaustless literary 
material to English writers, and have also been " the 
engrossing topic for the imagination of Europe," * 

* Maccallum, " Tennyson's Idylls of the King and Arthur- 
ian Story," p. 38. Macmillan & Co., New York, 1894. 
"... the Arthurian romances have exercised an immense 



14 IDYLLS OF THE KING. 

being the acceptable expression of the ideals of chiv- 
alry, and a vehicle through which was spread abroad 
one of the profoundest dogmas of the Catholic creed. 
It would appear, then, that any final judgment 
of Tennyson's " Idylls of the King" is inadequate, 
which, leaving out of consideration the history of 
the subject-matter of the poem and its treatment by 
other minds in our own and in other ages, regards it 
merely as the capricious creation of the poet, and 
not as the final form, for this generation at least, of 
wide-spread legends, centuries old, whose varying 
denouement at varying periods reveals the moral 
sentiments of each age as to many fundamental 
questions of conduct and of creed. 

2. The Methods of Exposition applied to Goethe's 
"Faust." 

The " Idylls of the King" being thus so similar to 
Goethe's " Faust," both in the use of legendary ma- 
terial and in having a recondite allegorical significa- 
tion, the methods of exposition which have been 
already applied to the " Faust" will, presumably, be 
applied also to the " Idylls of the King." A knowl- 
edge of the results of these expositions of the older 
poem will, doubtless, enable the student of the 
" Idylls of the King" to avoid many errors arising 
from undue emphasis upon any one of several valu- 
able methods of study. 

influence upon the literature, not only of England and France, 
but of all European nations." — Dr. Sommer, " Le Morte 
Darthur," vol. iii. p. 1. David aSTutt, in the Strand, 1891. 



THE SUBJECT-MATTER OF THE IDYLLS. 15 

These methods of exposition, as they have been 
actually applied to Goethe's poem, are, according to 
Kuno Fischer,* 1st, the philosophical or allegorical; 
2d, the historical ; 3d, the philological. The kernel 
of all Faust literature is a religious fable of a nobly- 
striving and highly-gifted man, who, impelled by a 
thirst for truth and yet entangled by the pleasures 
of the world, becomes false to the service of God, 
strives after the power of magic, calls up the Devil 
and subscribes to him his soul for all eternity after 
he has enjoyed a wanton career in this life. This 
fable contains, even in its rudest form, momentous 
thoughts concerning the struggle between good and 
evil in the heart of man, concerning the motives 
which lead men to guilt and destruction, — clearly 
some of the profoundest themes of both religion and 
philosophy. Therefore Goethe's " Faust" is, by vir- 
tue of its origin, a religious and philosophical poem, 
which cannot be thoroughly comprehended without 
a knowledge of the ideas contained therein. The 
meaning of the poem was and is, therefore, a philo- 
sophical problem. The first attempts at interpreta- 
tion took this direction. The problem was to ex- 
plain the fable in " Faust," — i.e., to find the moral. 
This fable and its moral were taken to be allegori- 
cally portrayed in the persons and events of the 
poem. So the philosophical interpretation became 
allegorical interpretation, and this was followed 

* This in regard to the " Faust" is substantially as given in 
Professor Fischer's university lectures. 



16 IDYLLS OF THE KING. 

by arbitrary interpretations, which soon ran into 
absurdities. 

The entire poem seemed at la3t to be a sort of 
phantasmagoria, a world of enchantment wherein 
one could no longer trust his senses, but must look 
for a hidden meaning in that which appeared to be 
the simplest statement of a fact. A subtle mean- 
ing was given to the pedestrians before the gate, to 
the dance of the peasants under the linden-tree, to 
the revellers in Auerbach's cellar, to the wine which 
flowed from the table-top, the jewel-casket in Mar- 
garet's chest, the bunch of keys and the lamp with 
which Faust entered Margaret's prison-cell. It was 
even asked, what is the meaning of Margaret? 

A substantially similar process of interpretation is 
already begun in the case of the " Idylls of the King." 
Not only is Arthur the King allegorized into a mere 
type of the Conscience, hardly in any sense a flesh 
and blood reality, but even Guinevere is taken to be 
no more the sinning queen, but a representation* of 

* " It is said that Tennyson intended her, in his allegory, to 
image forth the Heart (or what we mean by that term) in 
human nature." — Stopford A. Brooke, "Tennyson," p. 357. 
G. P. Putnam's Sons, London, 1894. But Stopford Brooke's 
own view is that " she is a living woman, not an abstraction." 

Yan Dyke, referring to this tendency to interpret the poem 
as a strict allegory, says, "Suppose you say that Arthur is 
the Conscience, and Guinevere is the Flesh, and Merlin is the 
Intellect ; then pray what is Lancelot, and what is Geraint, 
and what is Vivien? What business has the Conscience to 
fall in love with the Flesh ? What attraction has Vivien for 



THE SUBJECT-MATTER OF THE IDYLLS. 17 

the sensuous in man, and all the characters of the 
poem are taken to be types of some cardinal virtue 
or deadly sin, as in Spenser's gorgeous allegory, 
« The Faerie Queene." 

To one of the early interpreters of the " Faust" 
the whole prison scene was symbolical of the Chris- 
tian doctrine of belief. The bunch of keys with 
which Faust comes to free Margaret from prison 
was said to be a symbol of self-help, and the night- 
lamp betokened the shallow enlightenment of the 
understanding. The wine drawn from the table-top 
in Auerbach's cellar reminded one keen interpreter 
of the metamorphosis of plants, and the revelling 
students were in the opinion of another an allusion 
to the unbridled imaginations of the second Silesian 
school of poets ! 

But it was soon shown by the expositors who 
adopted historical methods that the fable was not 
invented by Goethe to suit the allegory, but was al- 

the Intellect without any passions ? If Merlin is not a man, 
' Que diable allait-il faire dans cette galere ?' The whole affair 
becomes absurd, unreal, incomprehensible, uninteresting." — 
11 The Poetry of Tennyson," p. 176. Charles Scribner's Sons, 
New York, 1893. 

For a valuable discussion of the allegory in the " Idylls 
of the King" see Elsdale's "Studies in the Idylls," Henry 
S. King, London, 1878, and the article by the Dean of Can- 
terbury, one of Tennyson's university friends, in The Con- 
temporary Review, London, January, 1870. The writer is, 
presumably, giving the poet's own interpretation of his poem, 
as he says, "This exposition, which is not, we beg to say, a 
mere invention of our own," etc. 

2 



18 IDYLLS OF THE KING. 

ready in the older Faust compositions. The scene 
in Auerbach's cellar, which had been thus absurdly 
allegorized, was shown to have been substantially in 
some versions of the Faust legend, and so of other 
incidents in the poem. 

Then began an attempt to find the origin of the 
" Faust" of Goethe in previous Faust compositions, 
an attempt carried by some to such an extreme as, 
in effect, to deny to the illustrious poet any power 
of imagination whatever. 

Somewhat similar was the early criticism of Ten- 
nyson's poem, that he had borrowed outright from 
Sir Thomas Malory or Lady Charlotte Guest, merely 
putting into glorious verse the incidents of the old 
tales, adopting sometimes even the language as well 
as the story of the earlier versions, — a criticism 
which later was less often heard after it was seen 
that Tennyson was not merely retelling old tales, 
but was attempting to make a poem, an organic 
unity, out of the rich store of poetic material which 
had grown up about the chivalrous and spiritual 
ideals of the Middle Ages. 

It is doubtless true, then, of Tennyson's " Idylls 
of the King," as of Goethe's " Faust," that to under- 
stand it fully we must understand its origin, that 
we may the better judge of the poet's thought in 
his poem when we know in what manner he has 
moulded and to what extent he has transformed the 
material wherewith he wrought. And though in 
this search for the poet's sources there may be a ten- 
dency to emphasize unduly the poet's obligations to 



THE SUBJECT-MATTER OE THE IDYLLS. 19 

his sources, nevertheless, only as we can trace the 
development of the ideal enshrined in the poem do 
we attain the critical rather than the dogmatic 
stand-point in our judgment of the poet's work. 

The later problems of a philological or linguistic 
nature as to the time when the various portions of 
Goethe's " Faust," which was sixty years in coming 
into being, were written are much simplified in the 
case of the " Idylls of the King" by the fact that 
the members of the poem were published more im- 
mediately after their composition than was the case 
with the subdivisions of Goethe's poem, and we do 
not have the conflicts of opinion which have arisen 
as to the date of the composition of the various 
scenes of the " Faust," — a matter which is of large 
importance, bearing as it does upon the growth of 
the poet's mind and his final view of life. There 
are lines in the poem near together in place but 
wide apart as the poles in thought. It is of vital 
consequence that we know, as we read, at what 
period of the poet's lifetime the views of life therein 
expressed were written, that we do not confuse the 
boy-poet's immature boyhood thought with the cor- 
rected opinion, the chastened judgment of the silver- 
haired sage, with the world-poet's final view of life. 

But although the art of distinguishing by means 
of philological or linguistic tests between the ear- 
lier and the later work of the poet is not so im- 
portant in the " Idylls of the King" as in the 
" Faust," yet there is a valuable study in connection 
with the changes made in the "Idylls of the King" 



20 IDYLLS OF THE KING. 

in successive editions of the poem, and the reasons 
therefor. 

In the universities of Germany semester-long 
courses of lectures on the " Faust" are given from 
year to year, though it is now more than a century 
since the first portion of the poem was published. 
These are among the largely attended * courses in 
the universities. It would seem that the funda- 
mental thought of this poem is not yet exhausted, 
and that the rising scholars of this home of learn- 
ing find substance in expositions according to the 
methods outlined above. 

3. The Arthur Legend, its Development and Dis- 
semination. 

As the interpretation of Goethe's " Faust" is pre- 
ceded by a resume of the history of the Faust le- 
gend prior to its appropriation by Goethe, so will 

* At the University of Munich I saw a hundred university 
students, unable to find seats, remain standing during the 
lecture hour to hear Professor Moritz Carriere's introductory 
lecture in his course on "Faust," a course which had been 
given for many years. 

At the University of Heidelberg some three hundred hearers 
(among them gray-haired college men) daily enter the lists 
for the two hundred and seventy-five available seats in the 
lecture-room where Professor Kuno Fischer's lectures on 
" Faust" are given. Day after day, even through the hot 
summer month of July, notwithstanding the certainty that a 
score or more must remain standing during the entire lecture 
period, the press of hearers continues with unabated enthu- 



THE SUBJECT-MATTER OF TEE IDYLLS. 21 

a discussion of Lord Tennyson's treatment of his 
theme in the " Idylls of the King" properly begin 
with a study of the Arthur legend. The reader, 
having then some conception of the nature and pos- 
sibilities of the matter wherewith the poet wrought, 
may form a judgment more entitled to respect as to 
the nature of the "sensible addition," which, accord- 
ing to Gladstone, this poem is to " the permanent 
wealth of mankind." 

A critical study of the poem, then, inevitably be- 
gins with the accounts of the Celtic hero whose 
memory has been transmitted to us transfigured by 
legend, who historically was probably the leader of 
the Celtic tribes of England in their struggles with 
the invading Saxon hordes. His victory at Mount 
Badon (about 516 a.d.), described by Sir Lancelot to 
the household at Astolat, — 

Dull days were those, till our good Arthur broke 
The pagan yet once more on Badon Hill. 

and on the mount 
Of Badon I myself beheld the King 
Charge at the head of all his Table Round, 
And all his legions crying Christ and him, 
And break them ; 

in this heathen war the fire of God 
Fills him : I never saw his like : there lives 
No greater leader, — 

this victory is mentioned by Gildas in the sixth 
century, who, however, does not speak of him by 
name. Nennius, writing perhaps in the ninth cen- 



22 IDYLLS OF THE KING. 

tury, speaks of this victory as one of the twelve 
won by Arthur * over the Saxon hordes. 

But the struggle with the Teutonic invaders, how- 
ever bravely and desperately fought, was in vain. 
As the cause of the highly-gifted, imaginative Celt 
became more and more hopelessly crushed in con- 
flict with the kinsmen of the conquerors of Rome, 
he found solace in song for the hard facts of life. 
He won in the fields of imagination the victories 
denied him on the field of battle, and he clustered 
these triumphs against the enemies of his race about 
the name and the person of the magnanimous Ar- 
thur. By the Norman conquest of England the 
heart of the Celtic world was profoundly stirred. 
Ancient memories awoke, and, yearning for the 
restoration of British greatness, men rehearsed the 
deeds of him who had been king, and of whom it 
was prophesied that he should be king hereafter.f 

G-eoffrey of Monmouth wrote about 1132-35 a.d. 
(Ten Brink) a history of Britain in Latin, a book 
which, whatever its faults as a history, was an 
epoch-making book, because, though it did not origi- 
nate the Arthur legends, it yet made them radiant 

* " Duodecimum fuit belluni in monte Badonis, in quo 
corruerunt in uno die nongenti sexaginta viri de uno irnpetu 
Arthur ; et nemo prostravit eos nisi ipse solus, et in omnibus 
bellis victor exstitit." — Nennius, edited by San-Marte, p. 69. 
F. A. KOse, Berlin, 1844. 

f u But many men say that there is written upon his tombe 
this verse: 'Hie jacet Arthurus, rex quondam, rexque fu- 
turus.' "—Malory, Book XXI., chapter vii. 



THE SUBJECT-MATTER OF THE IDYLLS. 23 

with poetic coloring,* and thus contributed toward 
making them that which they soon became, the 
common property of Europe.f Geoffrey's book, still 
characterized as a work of genius and of imagina- 
tion, is the source of a stream of poetry that flows to 
our day .J It was forthwith translated into French 
by Wace, who added the story of the Eound Table. 
Within a generation or two innumerable versions, 
into which had been woven the legend of the Holy 
Grail, appeared among the principal nations of Eu- 
rope, two of the more prominent writers being 
Chrestien de Troyes in France, and in Germany 
"Wolfram von Eschenbach with his " Parzival," later 
the theme of Wagner's greatest opera. 

The relations of these versions to one another, 
the questions as to which are the older and which 

* " But above all the figure of Arthur now stood forth in 
brilliant light, a chivalrous king and hero, endowed and 
guarded by supernatural powers, surrounded by brave war- 
riors and a splendid court, a man of marvellous life and a 
tragic death." — Ten Brink, " History of English Literature," 
vol. i. p. 135. Henry Holt & Co., New York, 1889. 

f". . . the Arthurian romances have exercised an immense 
influence upon the literature, not only of England and France, 
but of all European nations." — Dr. Sommer, " Le Morte Dar- 
thur," vol. iii. p. 1. David Nutt, in the Strand, 1891. 

J "The effect of the work was therefore tremendous. 
Geoffrey's influence grew through the entire course of the 
Middle Ages, and spreading in a thousand channels, reached 
far into modern times, down to Shakspere, nay to Tenny- 
son." — Ten Brink, "History of English Literature," vol. i. 
p. 136. Henry Holt & Co., New York, 1889. 



24 IDYLLS OF THE KING. 

are copies, and of which versions they are copies 
the land of their origin, and the significance of the 
early myth,* these problems, weighty in tracing the 
growth of mediaeval ideals, are yet under investiga- 
tion by the specialists. It appears that five great 
cycles of legend, — 1, the Arthur, Guinevere, and Mer- 
lin cycle ; 2, the Round Table cycle ; 3, the Lance- 
lot cycle ; 4, the Holy Grail cycle ; 5, the Tristan 
cycle, — at first developed independently, were later 
connected together about the mediaeval hero, King 
Arthur.f Even to run through all the available ver- 
sions of the related legends is the task of a lifetime.^ 
It is apparent that the centuries before Chaucer, 
far from being barren of literature, were periods of 
rich poetical activity. Geoffrey's book was written 
somewhat before the middle of the twelfth century. 
By the close of the century the theme, enriched by 
the illuminations of many men of genius and trans- 
figured by the introduction of the San Graal, the 

* " Leaving aside for a while the man Arthur, and assum- 
ing the existence of a god of that name, let us see what could 
he made of him. Mythologically speaking he would probably 
have to be regarded as a Culture Hero." — J. Rhys, "Studies 
in the Arthurian Legend," p. 8. 

f Encyclopaedia Britannica. Sommer says (p. 3), "Besides 
the Merlin, which presents the national story of Arthur, and 
the spiritual story of the Holy Grail, the Arthurian cycle has 
incorporated two other branches, viz., the ' Lancelot' and the 
'Tristan.'" 

J Lectures of J. Schick, professor of English literature in 
the University of Heidelberg. 



THE SUBJECT-MATTER OF THE IDYLLS. 25 

holy vessel which received at the Cross the blood 
of Christ, the symbol of the Divine Presence, was 
engrossing the imagination of Europe. How were 
these poems so rapidly disseminated before the in- 
invention of the printing-press and our modern 
triumphs over time and space? We know that 
copies of the poems in manuscript were carried from 
country to country, but the more important means 
of dissemination were doubtless the minstrels, who 
passed from court to court and land to land. In 
the oldest specimen of English poetry that has come 
down to us, whose hero is Widsith, the far-traveller, 
we read (in modern words) : 

" Thus roving, the glee-men wander through the lands 
of many men, as their fate wills ; they let their needs be 
known, and utter words of thanks. They find ever, in the 
north or in the south, some one who understands song, is 
not niggardly with gifts, who will exalt his fame before his 
heroes, and show manhood until all things disappear, even 
light and life. He who works praise has under heaven 
high and steady fame." * 

The entertainment of these minstrels was splendid, 
not merely because of the natural desire to be spoken 
well of at the next court, but because the songs of 
the poet-singer were a stimulus to the intellectual 
life of hearers not surfeited with book-learned lore. 
The minstrel, the bringer of tidings from the out- 
side world as well as a glimpse of the higher realm 
of thought, treated with high consideration during 

* Ten Brink, p. 12. 



26 IDYLLS OF THE KING. 

his stay at court, a chain of gold hung about his 
neck at his departure, passed from land to land 
singing the songs which he had made or heard. In 
that age there was little thought of literary pro- 
prietorship.* The poem belonged to him who could 
recall it. Even the manuscript was often marked 
with the name of the copyist rather than with the 
name of the author, thus making confusion worse 
confounded for modern scholars attempting to dis- 
cover the original singer of the song. 

And as each minstrel felt free to adopt whatever 
poem he found or heard that pleased him, so he felt 
free also to modify the incidents thereof, guided only 
by his experience as to what pleased his hearers. 

* See note on page 11 in regard to early poetry as the product 
of the community rather than of the individual poet. The 
statement above as to the absence of literary proprietorship, 
as well as the preceding statements as to the honor paid to the 
poet-singer, apply perhaps more invariably to the earlier his- 
tory of the Arthur legend. There is here no intent to touch 
upon the controversy between Bishop Percy and J. Kitson. 
The period of national poetry was now drawing toward a 
close, but it was not yet closed. Alfred Nutt, speaking of 
Wolfram von Eschenbach, who wrote his " Parzival" about 
the time when the Niebelungenlied were given their present 
form, and when the Arthur legends were already the common 
property of Europe, says (in "Studies in the Legend of the 
Holy Grail," p. 248), " Compared with the unknown poets 
who gave their present shape to the Niebelungenlied or to the 
Chanson de Koland he is an individual writer, but he is far 
from deserving this epithet even in the sense that Chaucer 
deserves it." 



THE SUBJECT-MATTER OF THE IDYLLS. 27 

Hence the countless variations in the treatment of 
the theme, and the value of the conclusions which 
may be drawn as to the moral sentiments of an age 
the quality of whose moral judgments is indicated 
by the prevailing tone of the songs which persisted 
because they pleased. Unconformable variations, 
which express the view of an individual rather than 
the view of the race, may have come down to us in 
an accidentally-preserved manuscript, but the songs 
which were sung by the poets of all lands give ex- 
pression to the view of life of the age, and reveal 
the morals and the ideals of nations whose history 
in this respect may otherwise be lost to us. What 
some of these ideals were, and what the correspond- 
ing modern ideals are as revealed in the " Idylls of 
the King," of which one has said that " it stirs the 
heart of this generation, and will not cease to do so 
until the ethical ideals and the philosophy of life 
which this poem enshrines shall, if that be their 
destiny, have wholly passed away,"* — this is a 
theme worthy of the philosopher and the historian, 
of the finished scholar able to interpret sympatheti- 
cally the aspirations of each age and to trace the 
evolution of the ideals of the past into the realities 
of the present. 

Surely, one can hardly overestimate the extent and 
importance of poetic material which has exercised so 
large an influence upon the literature of all Euro- 
pean nations, nor ignore the nature and the possi- 

* H. D. Traill, The Nineteenth Century, December, 1892. 



28 IDYLLS OF THE KINO. 

bilities of this material when forming a judgment as 
to whether or no the " Idylls of the King" is the 
adequate treatment and the final form of this rich 
store of Dichterstoff, of poetic material handed down 
in the imagination of man from generation to gen- 
eration through the centuries. 

4. The Necessity for finding- Tennyson's Sources, 
and the Method. 

As a knowledge of the nature and possibilities of 
the subject-matter, this raw material of great poetry, 
is thus necessary for an informed judgment as to 
whether or no the " Idylls of the King" is the ade- 
quate and final treatment of this subject-matter, this 
stream of national, nay, of international poetry, so 
it is also necessary, in discussing more in detail the 
influence of particular sources upon the poet's treat- 
ment of his theme, to know which of the many 
available versions of the legend were in reality the 
sources drawn upon. For while the poet cannot 
treat legendary matter capriciously, yet there is 
large variety of treatment in the legends themselves, 
and therefore some criticisms which have been passed 
upon Lord Tennyson's ideal king, that " this is not 
the Arthur whom we knew" * (through Malory), 
may perhaps be based upon an overestimate of 
Malory as representing Arthurian legend or of Ten- 
nyson's obligations to Malory as a source. Malory's 
book, " incomparable" though it be in some respects, 

* Andrew Lang in Sommer's " Malory." 



THE SUBJECT-MATTER OF THE IDYLLS. 29 

is yet a compilation, and not always a happy one, 
since, the delineations of the chief characters being 
taken from versions which developed differently, 
there are attributed to a single individual radically in- 
compatible traits. There are, in reality, two Arthurs 
in Malory.* Furthermore, Malory sometimes follows 
a poor version of a legend, and is not thus in every 
case happy in showing the spiritual significance of 
these vehicles of profoundest religious truth, in re- 
vealing the heart of the mystery of legends which 
were often instinct with high conceptions and noble 
ideals.f 

* One of Malory's Arthurs commits incest, and then to save 
himself from the doom predicted orders all children born on 
May-day to be killed. The other Arthur is Malory's " noblest 
king and knight of the world." Andrew Lang, after refer- 
ring to Malory's book as a " jumble," says (in Sommer's 
" Malory"), " It was well called < La Morted' Arthur,'. for the 
ending atones for all, wins forgiveness for all, and, like the 
death of Roland, is more triumphant than a victory." Swin- 
burne (in his " Miscellanies") speaks of " the romantic Ar- 
thur of the various volumes condensed by Mallory into his 
English compilation, — incoherent itself and incongruous in its 
earlier parts, but so nobly consistent, so profoundly harmo- 
nious in its close," — 

f Alfred Nutt's comment on Malory is, " Malory is a won- 
derful example of the power of style. He is a most unintelli- 
gent compiler. He frequently chooses out of many versions 
of the legend, the longest, most wearisome, and least beauti- 
ful ; his own contributions to the story are beneath contempt 
as a rule. But his language is exactly what it ought to bej, 
and his has remained in consequence the classic English ver- 
sion of the Arthur story." — Alfred Nutt, "Studies in the 



30 IDYLLS OF THE KING. 

It is properly, then, no reproach to Tennyson that 
his ideal king is not the Arthur whom we knew 
through Malory, as he chose sometimes to follow 
another source. Indeed, Tennyson's obligations to 
Malory may easily be unduly emphasized. Malory 
was not of necessity his source in every case in 
which there is similarity of incident, for these tales 

Legend of the Holy Grail," p. 236. Publications of the Folk- 
Lore Society, No. xxiii., London, 1888. 

Dr. Sommer, after "four years of arduous labor" on his 
monumental edition of Malory, might well be pardoned some 
favorable bias in his estimate of the work itself. And yet his 
critical faculty is too honest to praise unreservedly. In his 
concluding chapter we read, " We owe the worthy knight a 
deep debt of gratitude both for preserving the mediaeval ro- 
mances in a form which enabled them to remain an integral 
portion of English literature, and for rescuing from oblivion 
certain French versions of great value to the critical student. 
But truth demands that we should not rate him too highly. 
To put it mildly, his work is very unequal — sometimes he 
excels, but often he falls beneath, oftener still, he servilely re- 
produces his originals. Nor can his selection of material be 
unreservedly praised. Difficulties in procuring MSS. may 
possibly have occurred of which we have nowadays no idea ; 
yet, giving him the full benefit of this supposition, we must 
still say that he left out many of the most touching and ad- 
mirable portions of the French romances, and that he has 
incorporated others of inferior quality. The most marked 
and distressing instance is his preference of the trivial and 
distasteful version of the Merlin and Yiviene episode as found 
in the ' Suite de Merlin' to the exquisite version of the Vul- 
gate-Merlin, which, in its mingling of wild romance and 
delicate sentiment, is perhaps the most beautiful and charac- 
teristic story of mediaeval literature." 



THE SUBJECT-MATTER OF THE IDYLLS. 31 

were the common property of the poets of all lands. 
An outline of the story of Erec and Enid as told by 
Chrestien de Troyes in France in the twelfth cen- 
tury strikingly resembles the story of Geraint and 
Enid as told by Tennyson. Tennyson's source in 
this case was, as is well known, Lady Charlotte 
Guest's " Mabinogion." And yet there is far greater 
resemblance between Tennyson's " Geraint and Enid" 
and the twelfth century version than there is be- 
tween Malory and some others of the Idylls com- 
monly said to be drawn from Malory, or at least 
suggested by him. 

As, for example, it is usually rather taken for 
granted that the source of Tennyson's " Vivien," 
in so far as it had a source, is Malory. Littledale's 
comment* is, "This Idyll . . . derives little more 
than a suggestion from the old romances. Malory 
simply tells how Merlin fell in a dotage about one of 
the damsels of the lake whose name was Nimue." 
Stopford A. Brooke refers to " the original tale in 
Malory." f Yan Dyke, speaking of the changes of 
deep significance made by the poet, gives a selection 
from Malory and exclaims, " How bald and feeble is 
this narrative compared with the version which Ten- 
nyson has given !" J Andrew Lang, comparing Malory 
with Homer, says, " In Nimue, one of the ladies of 
the lake, we have Malory's Circe, whose wiles are too 

* " Essays on Tennyson's Idylls of the King," p. 170. 

f " Tennyson, his Art and Kelation to Modern Life," p. 306. 

% » The Poetry of Tennyson," p. 150. 



32 IDYLLS OF THE KINO. 

cunning even for his Odysseus, Merlin." * In the 
article on Geoffrey of Monmouth in the "Encyclopae- 
dia Britannica" we read, " And Tennyson's ' Idylls of 
the King' furnish the most illustrious example of Geof- 
frey's influence ; although the poet takes his stories 
in the first instance from Malory's < Morte Darthur,' " 
— a statement doubtless intended as a general state- 
ment admitting of important exceptions. Some four 
or five of the twelve Idylls owe little to Malory, one 
of these being, apparently, Tennyson's version of the 
Yivien episode. 

There are, doubtless, suggestions from Malory in 
some incidents of Lord Tennyson's poem, " Merlin 
and Yivien," notably in the addition of six pages 
made to the poem in '74. But Tennyson's Yivien 
can hardly be derived from Malory's JSTimue. It is 
true that Nimue makes use of a " charm," as does 
Yivien, but the motive for its use is altogether dif- 
ferent. And in any case this use of a charm might 
have been suggested to Tennyson by other sources. 
This does not imply any obligation to Malory for 
the poet's conception of his Yivien, inasmuch as the 
Yivien of the " Idylls of the King" has in reality 
nothing in common with Malory's lady of the lake, 
" hight Nimue." Malory's Nimue is an entirely 
different character, altogether " more sinned against 
than sinning." Merlin was "assotted" on her 
through no wile of hers, and she worked the 
" charm" on him to protect herself and her virtue 

* In Sommer's " Le Morte Darthur," vol. iii. p. xiv. 



THE SUBJECT-MATTER OF THE IDYLLS. 33 

from the power of his dreaded "enchauntments." 
Indeed, it would appear that the source of Tenny- 
son's "lovely baleful star" cannot possibly be the 
lady of the lake of Sir Thomas Malory, as is evi- 
dent from the following epitome, based upon the 
index of Sommer's " Morte Darthur," of every ref- 
erence in Malory to the " damosell hight Nimue." * 

* Dr. Sommer incorporates into his index references to the 
accounts of Nimue in Malory, but not every passing allusion 
to those accounts. Nor does he include under the name 
Nimue references to the lady of the lake who gave Arthur 
the sword Excalibur. She was a different character, whose 
head had been cut off by Balin long before Merlin became 
"assotted." But were every reference in Malory to any lady 
of the lake included under one figure, the conclusion must 
be the same, viz., that Malory's lady of the lake is not the 
prototype of the Vivien of the " Idylls of the King." 

In connection with the question as to whether the various 
ladies of the lake in Malory were originally one or diverse 
characters, the following from Professor Khys, of Oxford 
(" Studies in the Arthurian Legend," p. 348), is of interest: 
"... and considering how predicates, frankly inconsistent 
and contradictory, are applied to everything connected with 
the other world, there is no occasion to regard these two 
Morgens as forming distinct persons rather than one and the 
same fairy differently described. In a word, she is viewed at 
one time as kind and benevolent and at another as hostile and 
truculent. The same sort of remark applies to the same sort 
of person under the name of the Lady of the Lake, of whose 
figure Malory gives, so to say, widely different views. Ac- 
cordingly, one Lady of the Lake sends Arthur the sword 
Excalibur and asks for Balyn's head in return for it ; another 
Lady of the Lake confines Merlin in his stone prison ; a 



34 IDYLLS OF THE KING. 

She first appears in Malory in Book III., chapter 
xiii., which tells how king Pellinore " gate the lady." 
She had been led away by force from, not Mark's 
court but Arthur's. Her kinsman had followed and 
" chalenged that lady of that knight, and said shee 
was his neere cosen." But while they were waging 
" battaile in that quarell" king Pellinore "anone 
rode betweene them," and announced that " the lady 
shall goe with me to king Arthur, or I shall die for 
it, for I have promised it unto him." He "clove 
downe the head" of one of them to the chin, and 
then " hee departed with the lady, and brought her 
to Camelot." There " Merlin fel in a dotage on the 
damosel that king Pellinore brought to the court 
with him, and she was one of the damosels of the 
lake which hight Nimue. But Merlin would let her 
have no rest, but alwayes he would be with her in 
every place. And ever she made Merlin good cheere, 
till she had learned of him all manner thing that shee 
desired ; * and hee was so sore assotted upon her that 

third, Nyneue, busies herself about Arthur's safety, and a 
fourth about that of Lancelot. They may all be taken as 
different aspects of the one mythic figure, the lake lady 
Morgen." 

* The Nimue of Malory's compilation may perhaps not be 
consistent throughout. She who later in Malory is the trusted 
friend and adviser of both king and queen is here not quite 
sincere with Merlin. But surely the last charge which could 
be brought against her is that of harlotry. And her use of a 
charm to protect her virtue hardly makes her the prototype of 
Lord Tennyson's Circe, who plotted long fixt in her will to 



THE SUBJECT-MATTER OF THE IDYLLS. 35 

he might not be from her. . . . And then soone after 
the lady and Merlin departed ; and by the way as 
they went Merlin shewed her many wonders, and 
came into Cornewaile. And alwaies Merlin lay 
about the lady for to have her maidenhood, and she 
was ever passing wery of him, and faine would have 
beene delivered of him, for she was afraid of him, 
because he was a divels sonne, and she could not put 
him away by no meanes. 

"And so upon a time it hapned that Merlin 
shewed to her in a roche where as was a great won- 
der, and wrought by enchauntment, which went 
under a stone. So by her subtile craft and working, 
she made Merlin to goe under that stone to let her 
wit of the mervailes there, but she wrought so there 
for him, that he came never out, for all the craft 
that he could doe. And so she departed, and left 
Merlin." 

In chapter xvi. there is an account of " how the 
damosell of the lake saved king Arthur from a man- 
tell which should have brent him," the bringer of 
the suspected mantell being by Nimue's " counsaile" 
compelled to put the mantell on, and " foorthwith" 
she was " brent to coles." 

make the most famous man of all those times lost to use and 
name and fame. 

The prototype of Malory's Nimue, the heroine of the 
" Suite de Merlin," was a high-born damsel, the daughter of 
a king, of great beauty and wisdom, who also preserves her 
honor. Unlovely as her character may be in some respects 
according to modern ideals, she is in no sense a Vivien. 



36 IDYLLS OF THE KING. 

The damosell of the lake next appears in chapter 
xxiii. of Book IV., where she brings Ettard into the 
presence of Pelleas, who was about to die on account 
of her rejection of his love. " And therewith she 
cast such an enchantment upon her that shee loved 
him out of measure, that well nigh shee was out of 
her mind. ' Oh, Lord Jesus,' said the lady Ettard, 
' how is it befallen me that I now love him which I 
before most hated of all men living ?' ' This is the 
rightwise judgment of God,' said the damosell of 
the lake. And then anon sir Pelleas awoke, and 
looked upon the lady Ettard. And when he saw 
her, he knew her, and then hee hated her more than 
any woman alive, and said, ' Goe thy way hence, 
thou traitresse, come no more in my sight.' And 
when she heard him say so, she wept, and made 
great sorow out of measure. ... So the lady Ettard 
died for sorrow, and the damosell of the lake rejoyced 
sir Pelleas, and loved together during their lives." 

She guarded his reputation by keeping him out of 
Lancelot's way, " for where as sir Lancelot was at 
any justs or turneyments, she would not suffer him 
to be there at that day, but if it were on sir Lance- 
lot's side." 

In Book XL, chapter xvi., she " that was alway 
friendly unto king Arthur, shee understood by her 
subtill crafts that king Arthur was like to be de- 
stroyed," and she again saves his life. In Book 
XVIII., chapter viii., she saves the queen's life. 

And not only did she twice save the king's life, 
but she was also present at his death. " But thus 



THE SUBJECT-MATTER OF THE IDYLLS. 37 

was hee led away in a barge, wherein were three 
queenes; . . . and there was Nimue the chiefe lady 
of the lake, which had wedded sir Pelleas the good 
knight; and this lady had done much for king 
Arthur." The last reference to her in Malory is to 
the effect that " shee would never suffer sir Pelleas 
to bee in danger of his life, and so hee lived to the 
uttermost of his dayes with her in great rest." 

Surely the Yivien of the " Idylls of the King" is 
not the Nimue of Sir Thomas Malory, since they 
have scarcely a trait in common. And though there 
are in the incidents of the poem suggestions from 
Malory, yet the character Yivien herself, so far as 
she is not Lord Tennyson's own invention, must 
evidently be sought for in other sources. And all 
criticism designed to illustrate the difference between 
the treatment of the subject by Tennyson and by 
Malory, based upon the supposition of Tennyson's 
obligations to Malory for his character Yivien, is 
labor lost. 

In Lady Guest's "Mabinogion" there is a brief 
epitome of the account given in Southey's " Morte 
d' Arthur" of the incarceration of Merlin by the 
artifices of his Lady Love. The " fair Yiviane" of 
this Eomance resembles greatly the baleful siren of 
Lord Tennyson's Idyll. Though she at first " prom- 
ised to be his true love upon honorable terms," yet 
to learn the charm, the " proof of trust" in Tenny- 
son's poem, she "began to fawn and flatter him," and 
" for her great treason, and the better to delude and 
deceive him, she put her arms round his neck, and 



38 IDYLLS OF THE KING. 

began to kiss him, saying, that he might well be hers 
seeing that she was his." When she had succeeded 
in obtaining the charm and had " put it all in 
writing," " then had the damsel full great joy, and 
showed him greater semblance of loving than she 
had ever before made." After he was asleep, " she 
made the enchantments," " and when he awoke, and 
looked round him, it seemed to him that he was en- 
closed in the strongest tower in the world." This 
expression reminds us of Tennyson's line describing 
the hollow oak in which Merlin lay as dead, " It 
look'd a tower of ruin'd masonwork." In Lady 
Guest we find also Tennyson's "wild woods of 
Broceliande" spoken of as the " forest of Broceliande" 
(in Malory's account "she and Merlin went over the 
sea unto the land of Benwicke"). The "fairy well" 
of the poet 

That laughs at iron — as our warriors did — 
Where children cast their pins and nails, and cry, 
"Laugh little well!" 

is also mentioned in Lady Guest's book. 

Inasmuch as the poet obtained the material for his 
"Enid" (1857)* from Lady Guest's " Mabinogion," 
it seems not improbable that the suggestion for 
his "Nimue," published at the same time, may have 
come from Lady Guest also. At least his atten- 
tion may have been directed to the romance itself 
by this epitome given in Lady Guest. Certain it 

* See chapter ii. 



THE SUBJECT-MATTER OF THE IDYLLS. 39 

is that the general character of the Vivien of the 
" Idylls of the King" bears a striking resemblance 
to " the fair Viviane" of Lady Guest's note, and 
bears no resemblance whatever to the Nimue of Sir 
Thomas Malory, who was the faithful wife of Sir 
Pelleas, and the trusted friend of King Arthur and 
his queen, both of whom she by her " counsaile" 
saved from death. 

An excellent example of the laborious but fruit- 
ful study required for determining what the poet's 
sources really were is the monograph of Dr. Walther 
Wullenweber, " Ueber Tennyson's Konigsidylle, The 
Coming of Arthur." * He compares minutely Ten- 
nyson's introductory poem, " The Coming of Ar- 
thur," with some fourteen prior versions. He makes 
lists of incidents given in the poem and also in one 
or more of the other versions, and notes the agree- 
ments and disagreements in the details. Those ver- 
sions in which the details agree with Tennyson are 
then compared as to still smaller details, as, for ex- 
ample, the spelling of the proper names. These 
lists of names in parallel columns, together with 
other lists of agreements and disagreements, point 
toward the poet's probable source. The following 
examples, taken from three of the fourteen versions 
under consideration, illustrate the agreements and 
disagreements in proper names. The first five 
names in the Tennyson column seem to have been 
suggested by Malory's "Morte Darthur;" the next 

* Herrig's Archiv, vol. lxxxiii., 1889. 



40 



IDYLLS OF THE KINO. 



two, viz., Bellicent and Anguisant, were apparently 
taken from Ellis's "Specimens of Early English 
Metrical Eomances ;" and the last two, Gorlois and 
Igerne, suggest as Tennyson's immediate source 
the epoch-making volume, the fountain-head of Ar- 
thurian story, Geoffrey of Monmouth's "Historia 
Britonum." The names of Arthur's twelve battles, 
referred to in "The Coming of Arthur," 

and in twelve great battles overcame 
The heathen hordes, and made a realm and reign'd, 

and given in full in "Lancelot and Elaine," could 
have been taken only from Nennius, — unless, indeed, 
they were taken from some other version than the 
fourteen with which the comparison was made. 



Tennyson. 


Malory. 


Geoffrey. 


Ellis. 


Leodogran of 


Leodograunce of 


(Incident is 


Leodegan of Car- 


Cameliard. 


Camelyard. 


not given.) 


malide. 


Ulfius. 


Ulfius. 


Ulfin. 


Ulfin. 


Brastias. 


Brastias. 


Bricel. 


Bretel. 


Bedivere. 


Bedivere. 


Bedver. 


Bedwer. 


Excalibur. 


Excalibur. 


Caliburn. 


Escalibore. 


Bellicent. 


Margawse. 


Anne. 


Belicent. 


Anguisant. 


Agwisance. 


Angusel. 


Anguisant. 


Gorlois. 


Duke of Tintagil. 


Gorlois. 


Duke of Cornwall, 


Igerne. 


Igrayne. 


Igerna. 





The result of these comparisons is the demonstra- 
tion that Tennyson's " Coming of Arthur" agrees in 
minute particulars in some portion of the poem with 
Malory, with Geoffrey of Monmouth, with Ellis, and 
with Nennius. Whatever other sources may have 
influenced the poet, it seems probable that he was 
familiar with these four versions at least. The 



THE SUBJECT-MATTER OF THE IDYLLS. 41 

monograph seems to demonstrate that Ellis, whom 
the poet does not mention in the epilogue " To the 
Queen," influenced him (directly at least) more 
largely than Geoffrey, whom he does mention ; and, 
more specifically, that it is Ellis who suggests Leodo- 
gran's query whether he shall give his daughter 
" saving to a king, And a king's son" — an expression 
which was so skilfully employed by Tennyson in 
introducing into the poem, unavoidably apparently, 
an account of the birth of Arthur, the doubts as to 
his real right to the throne, the Barons' wars against 
him, whom they called baseborn, the founding of 
the Order of the Table Bound, Merlin's vast wit, the 
Lady of the Lake symbolical of Eeligion, the brand 
Excalibur, the Sword of the Spirit. Indeed, sub- 
stantially the whole of the " Coming of Arthur," 
which is the introduction to the "Idylls of the 
King," in which the persons and the events of the 
poem are sketched for the reader, arises naturally 
and seemingly inevitably out of Leodogran's un- 
certainty as to whether he should give his daughter 
" saving to a king, And a king's son" — a suggestion 
which Tennyson seems to owe to Ellis. 

It is true that the labor of ascertaining the sources 
which influenced the poet in the "Idylls of the 
King" would be enormous, and unjustified by the 
event, unless the poem be the adequate treatment of 
the rich store of Arthurian legend. But granting 
that the poem is worthy of exhaustive exposition, 
then the satisfactory answer to criticism such as 
Swinburne's, to the effect that Tennyson has given 



42 IDYLLS OF THE KING. 

us an emasculated hero, no longer Malory's lusty, 
incestuous knight accustomed to " sweare prophane," 
but a creature far too good for human nature's daily 
food, or to Andrew Lang's regret that " this is not 
the Arthur whom we knew" * (through Malory), 
may be the demonstration that the obligations of 
Tennyson to Malory have been overestimated, and 
that, inasmuch as the traits of the ideal knight are 
to be found in the Arthur legend, Tennyson has done 
no violence to the spirit of the legend in its best 
estate in his portrayal of God's highest creature here, 
the highest and most human too, the blameless king, 
worthy to be also a type of the Conscience, of the 
higher soul of man. 

5. Tennyson's Use of his Sources, and Comparisons 
with other Treatments by other Poets. 

To discuss properly Tennyson's use of his sources, 
and to make a commensurate comparison of his 
treatment of the subject-matter with other treat- 
ments by other poets, would require a volume. And 
the volume has been written, Professor Maccallum's 
scholarly treatise, which gives to the " Idylls of the 
King," so far as one volume may, something of 
the treatment already accorded in Germany to the 
" Faust." 

* This he said in the introduction to Sommer's " Malory." 
Had he been occupied at the moment, not with Malory but 
with other (and better) versions of the Arthur legend, he 
perhaps might not have greatly cared whether or no the Lau- 
reate's ideal knight and king be or be not the Arthur whom 
we know through Malory. 



THE SUBJECT-MATTER OF THE IDYLLS. 43 

It may perhaps be true that only after such 
knowledge of the whole subject-matter as is implied 
in this treatment of Arthurian legend is one in 
reality entitled to express an opinion as to the rank 
to be finally assigned to Lord Tennyson's interpreta- 
tion of this voice of the race. However this may 
be, a comparison of the treatments of the theme by 
various poets in various ages and in various lands 
makes more clear the real significance of the legend, 
enables one the better to grasp the heart of the 
mystery of this vehicle of profoundest truth. 

To deny the necessity or the value of such exposi- 
tion of the " Idylls of the King" as has been made 
of Goethe's " Faust," would be to deny in advance 
that the poem is a poem of the first rank composed 
out of elements which have been developed, not by 
the imagination of a single poet, but by the collec- 
tive imagination of many peoples throughout many 
centuries of growth, — a denial which, if sustained, 
would doubtless be best sustained by showing, either 
that the subject-matter is not susceptible of such 
treatment as to produce a poem of the first rank,* 
or else that the poet's treatment of adequate ma- 
terial is in itself inadequate. 

* " Thus the cycle of Arthur has not failed to enrich our 
modern poetry ; . . . but a new epic it has not given us, 
because a new epic is an impossibility. Far hence, in the 
untravelled future, the echo of an age dimly heard, faintly 
understood, may become a song in the ears of men unborn. 
But we have not the epic spirit; ere that can come to birth, 
the world, too, must die and be born again." — A. Lang. 



CHAPTEE II. 

THE BEGINNINGS OF THE IDYLLS OP THE KING. 

1. A Description of the Early Copies. 

In the preceding chapter, after a comparison of 
the " Idylls of the King" to Goethe's " Faust" and 
an account of the methods of exposition which have 
already been applied to the older poem, there was 
given a brief summary of the history of the Ar- 
thurian legend prior to its treatment by Tennyson. 
There now remains to describe the beginnings and 
the growth of the latest and greatest version of the 
old legend, the version characterized by Gladstone 
as in itself "a sensible addition to the permanent 
wealth of mankind." 

Tennyson touched in early poems, such as " The 
Lady of Shalott," "Sir Galahad," "Sir Launcelot 
and Queen Guinevere," the legends connected with 
King Arthur of the Table Eound, but the first pub- 
lished portion of the " Idylls of the King" was the 
noble fragment " Morte d' Arthur," which appeared 
in 1842, and in 1869 was incorporated into " The 
Passing of Arthur." 

In 1857 there appeared a second portion of the 
" Idylls of the King," viz., six copies of two poems, 
which, after many changes, were republished in the 
44 



THE BEGINNINGS OF THE IDYLLS. 45 

first edition of the " Idylls of the King" in 1859, the 
name " Nimue," however, being changed to " Vivien," 
another name for the character Nimue found in some 
versions of the legends from which Lord Tennyson 
obtained the material for the poem. There is in the 
Library of the British Museum a single copy* of 
this book, which is believed to be "the sole sur- 
vivor" of the " six trial-copies printed." f The title- 
page reads, 

ENID AND NIMUE: 

THE TRUE AND THE FALSE. 
BY 

ALFRED TENNYSON, D.C.L., 

POET LAUREATE. 
LONDON : 

EDWARD MOXON, DOVER STREET. 
1857. 

This sole surviving copy, " bearing Lord Tenny- 
son's autograph inscription" f contains many tenta- 
tive manuscript additions and corrections in the 
author's own hand. Exactly one-half of these cor- 
rections, leaving out of account changes in punctua- 
tion and other typographical corrections, were 

* Presented to the Library by Mr. Francis Turner Pal- 
grave, July 11, 1891. 

f The catalogue of the Library of the British Museum. 



46 IDYLLS OF THE KING. 

adopted in the first edition * of the " Idylls of the 
King." 

The corrections not adopted are of interest to us 
as showing the labor expended by the poet in attain- 
ing his acknowledged mastery of the art of expres- 
sion, and as we may thereby learn something of his 

* The growth of the " Idylls of the King" was as follows : 

Morte d'Arthur 1842. 

Enid and Nimue (six copies) 1857. 

The Idylls of the King 1859. 

The Holy Grail, and other Poems 1869. 

The Last Tournament 1871. 

Gareth and Lynette, etc 1872. 

Balin and Balan 1885. 

To the Table of Contents of the " Idylls of the King" as 
now published I hereby append the date of publication : 

Idylls of the King, — 

Dedication 1862. 

The Coming of Arthur 1869. 

The Round Table,— 

Gareth and Lynette 1872. 

The Marriage of Geraint 1857. 

Geraint and Enid 1857. 

Balin and Balan 1885. 

Merlin and Vivien 1857. 

Lancelot and Elaine 1859. 

The Holy Grail 1869. 

Pelleas and Ettarre 1869. 

The Last Tournament 1871. 

Guinevere 1859. 

The Massing of Arthur (Morte d'Arthur 1842) 1869. 

To the Queen 1873. 



TEE BEGINNINGS OF TEE IDYLLS. 47 

literary art and follow him somewhat in the attain- 
ment of his preeminence as a master of style. 

There is, however, a still earlier form of the poem 
" Enid" in the Forster Bequest Library of the South 
Kensington Museum. Here there is also a text of 
" Nimue" like that of the British Museum copy, and 
a volume of late proof-sheets, the title-page of which 
reads, 

THE 

TRUE AND THE FALSE. 

FOUR IDYLLS OF THE KING. 

BY ALFRED TENNYSON, 

P.L.; D.C.L. 
LONDON : 

EDWARD MOXON AND CO., DOVER STREET. 
1859. 

The four Idylls are "Enid," " Yivien," "Elaine," 
" Guinevere." The volume has been torn apart and 
the older forms mentioned above, viz., " Enid" and 
" Nimue," have been inserted after " Enid" and 
" Yivien" respectively, and the whole has been re- 
bound into one volume, the contents being " Enid" 
(the later form), "Enid" (the earliest form), "Yivien," 
"Nimue," "Elaine," "Guinevere." 

There are thus accessible for comparison with the 
text of the first edition of the " Idylls of the King" 
three older texts. These are, 



48 IDYLLS OF THE KINO. 

1. " Enid" in the South Kensington Museum. 

2. " Enid and Nimue : The True and the False" in the 

British Museum. "Nimue" in the South Ken- 
sington Museum. 

3. " The True and the False. Four Idylls of the King" 

in the South Kensington Museum. 

Of these texts the South Kensington "Enid" is 
the earliest print. Indeed, this may be the first 
"proof," as it contains some obvious compositors' 
errors, as, for example, " Droon" for " Devon" in the 
line, " I am Geraint of Devon," and " next" for " vext" 
in the line, " No, no," said Enid, vext, " I will not 
eat," and "lest" for "rest" in the line, "So moving 
without answer to her rest." It is not, however, the 
proof-sheet upon which Lord Tennyson indicated his 
revisions, as it shows but three manuscript correc- 
tions, while the differences between the South Ken- 
sington "Enid" and the British Museum "Enid" are 
many, as shown in the list of these differences fol- 
lowing. 

The pages in the South Kensington " Nimue" and 
the British Museum " Nimue" are numbered alike, 
and there is the same matter on each page. The 
British Museum "Nimue" has but one manuscript 
correction. The South Kensington "Nimue" is a 
" revise" upon which Lord Tennyson indicated many 
of the additions which were incorporated into " The 
True and the False. Four Idylls of the King" in 
1859. The manuscript corrections to the South 
Kensington " Nimue" which were not adopted are 
given in the summary of differences between the 



THE BEGINNINGS OF THE IDYLLS. 49 

various texts (page 89). Of more interest, how- 
ever, than these manuscript corrections not adopted 
is the number of lines marked for omission and re- 
marked " stet." 

" The True and the False. Four Idylls of the King" 
(1859) does not differ materially from the first edi- 
tion of the "Idylls of the King" published in the 
same year. There are, it is true, scores of minor 
variations. The " snake of gold" which slid from 
Yivien's hair shortly before Merlin yielded, when the 
dark wood was growing darker toward the storm, 
is in '59 a "twist of gold" round Yivien's head as 
she lay at all her length and kissed his feet. In "The 
True and the False" it was a " snake of gold" in both 
instances. The still earlier copies, however, the 
South Kensington and British Museum "Nimues" 
agree in this case, not with " The True and the 
False," but with the " Idylls of the King." That is, 
we have in the first copies a " twist" of gold and a 
"snake" of gold; in "The True and the False," a 
" snake" of gold and a " snake" of gold ; in the 
"Idylls of the King," a "twist" of gold and a 
" snake" of gold, as in the earlier copies. 

The Table of Contents of "The True and the 
False" is Enid, Nimue, Elaine, Guinevere. The 
name Nimue is marked out with a pen, and a cross 
is placed before it; but the name Vivien is not 
written as a correction. In the poem itself, how- 
ever, the name is given as Yivien throughout. 

On the title-page of "The True and the False. 
Four Idylls of the King" the main title is "The 

4 



50 IDYLLS OF THE KING. 

True and the False," which is in large type. Be- 
neath, in small type, as a sub-title, is " Four Idylls 
of the King." However clearly the poet may have 
had in mind from the outset the plan of the whole 
as a single poem, the title grew from "Enid and 
Nimue : The True and the False," to " The True and 
the False. Four Idylls of the King," and at last to 
the « Idylls of the King." 

2. The Variations in the Early Texts. 

The variations in these early texts, and the differ- 
ences between these texts (including also the manu- 
script corrections not adopted) and the '59 edition, 
illustrate the pains taken by the poet in acquiring 
his exquisite command of the beauties of style.* 

* " It may be doubted if any poet since the days of Horace 
and Virgil has been so great a master of the mere art of ex- 
pression ; . . . take him for all in all, he ranks the first of 
English poets in making the art of expression a luxury and 
an ornament." — Edinburgh Review, October, 1881. 

" The music and the just and pure modulation of his verse 
carry us back not only to the fine ear of Shelley, but to Milton 
and to Shakespeare : and his power of fancy and of expression 
have produced passages which, if they are excelled by that 
one transcendent and ethereal poet of our nation whom we 
have last named, yet could have been produced by no other 
English minstrel." — Gladstone, Quarterly Review, London, 
October, 1859. 

" The ' Idylls' may doubtless claim to be, in a technical sense, 
the poet's masterpiece. . . . Milton himself has not main- 
tained so uniform a level of force and dignity or so seldom 
marred the flow of his numbers by a weak or ineffective line. 



THE BEGINNINGS OF THE IDYLLS. 51 

For though he had, indeed, "a gift of felicitous and 
musical expression which it would be no exagger- 
ation to describe as marvellous," * yet this gift did 
not preclude the necessity for an occasional gilding 
of the refined gold of his thought and the addition 
of another hue unto the rainbow of his expression. 

In the oldest print of " Enid," the South Kensing- 
ton "proof," after Earl Limours bad 

moved the Prince 
To laughter and his menay to applause, 

which in the British Museum copy is, 

We cannot fairly compare the rhythms of the two poets at 
their best, for they are essentially different, but in the avoid- 
ance of monotony by the variation of coesura and cadence, 
Milton is not the more successful and cunning of the two. 
And Tennyson's clear harp has been modulated to tones in- 
comparably more diverse than ever rang from the Puritan's 
mighty lyre. He has attuned it to every voice of Nature, 
and its chords have resounded with the same resounding vol- 
ume, the same unerring truth to every mood of man. The 
shock of spears, the sound of waters, the wailing of the winds 
— it answers to them all. It can trip as lightly as the san- 
dalled foot of the maiden, and stride as starkly as the warrior's 
mail-clad heel. It can moan with the conscience-stricken 
Guinevere, or flash into wrath with the outraged Isolt, or 
swell into a strain of majestic melancholy with the dying 
king. In a word, the compass and capabilities of this sim- 
plest, yet most difficult, of English rhythms have never, since 
Shakespeare, been so magnificently displayed." — H. D. Traill, 
Nineteenth Century, London, December, 1892. 

* Collins, " Illustrations of Tennyson," p. 177. Chatto & 
Windus, London, 1891. 



52 IDYLLS OF THE KING. 

moved the Prince 
To laughter and his comrades to applause, 

he obtains permission of Geraint to cross the room 
and speak 

To your good damsel there who sits apart 
And seems so lonely. 

Having Geraint's free leave, 

Then rose Limours and looking at his feet 
Like one that tries new ice if it will bear, 

a line which in the British Museum copy is, 
Like one that tries old ice if it will bear, 

and in the '59 edition, 

Like him who tries the bridge he fears may fail, 

he urges Enid to fly with him, 

The one true lover which you ever had, 

alleging that Geraint loves her no more. In the 
South Kensington text Earl Limours says to Enid, 

your wretched dress, 
A wretched insult on you, dumbly shrieks 
Your story, that this man loves you no more. 

But in the second text, instead of the exaggerated 
and impossible " dumbly shrieks" of the first text, 

we have, 

your wretched dress, 
A wretched insult on you, dumbly speaks 
Your story, that this man loves you no more. 



THE BEGINNINGS OF THE IDYLLS. 53 

The discovery of an early text of the Faust, the 
Goehhausen copy, has made it manifest that Goethe 
also sometimes failed in finding at once the simplest 
and best expression. The less happy phraseology 
of the early text has later been corrected and en- 
nobled. The Monologue of Margaret at the spinning- 
wheel, "this most perfect outburst of woman's love- 
longing," yet contains in its original form one passage 
wherein the poet overlooked the simplest and best 
and most obvious expression, and chose instead the 
coarsest and rudest. Instead of " My bosom yearns 
for him alone," we read in the early text, "Mein 
Schoos ! Gott ! drangt sich nach ihm hin." * 

The differences between the early copies of these 
poems of the " Idylls of the King" are, however, 
often curious rather than important. There is a sin- 
gular inversion of the order of the words in the two 
lines of the South Kensington "Enid" in which 
Geraint 

bared the column of his knotted throat, 
The massive heroic of his square breast. 

In the British Museum copy Geraint 

bared the knotted column of his throat, 
The massive square of his heroic breast. 

One line in the South Kensington " Enid" reads, 

Thy wheel and thee are shadows in the cloud. 

* From Kuno Fischer, Die Erklarungsarten des Goethe- 
schen Faust. Heidelberg, 1889. 



54 IDYLLS OF THE KING. 

In the South Kensington " Enid" we read, 

How many among us at this very hour 
Do forge a life-long trouble for themselves, 

which later becomes, for ourselves. 

Some lines of the South Kensington or the British 
Museum copy are omitted in the '59 edition, but more 
frequently new lines are added. The following three 
lines of the South Kensington "Enid" become seven 
lines in the British Museum copy, and eight lines 
broken by a paragraph in the '59 edition, 

K. Then calPd Geraint for wine and goodly cheer 
To feed the sudden guest, and Earl Limours 
Drank till he jested with all ease, 
B. M. Then call'd Geraint for wine and goodly cheer 
To feed the sudden guest, and bad the host 
Call in what men soever were his friends, 
And feast with these in honour of their earl ; 
1 And care not for the cost; the cost is mine.' 
And wine and food were brought, and Earl Limours 
Drank till he jested with all ease, 
'59. Then cried Geraint for wine and goodly cheer 
To feed the sudden guest, and sumptuously 
According to his fashion, bad the host 
Call in what men soever were his friends, 
And feast with these in honour of their earl ; 
1 And care not for the cost ; the cost is mine.' 

And wine and food were brought, and Earl Limours 
Drank till he jested with all ease, 

In these lines the latter form bears the closer resem- 



THE BEGINNINGS OF THE IDYLLS. 55 

blance to the account* in the source of the poem, 
viz., the " Mabinogion" of Lady Charlotte Guest, 
though in several cases the earlier text keeps closer 
to the original. 

The following selection is exactly as printed in the 
oldest form of the poem, viz., the South Kensington 
"Enid": 

' O, rny new mother, be not wroth or grieved 

At your new son, for my petition to her. 

When late I left Caerleon, our great Queen, 

In words whose echo lasts, they were so sweet, 

Made promise that whatever bride I brought, 

Herself would clothe her like the sun in Heaven. 

Thereafter, when I reach'd this ruin'd hold 

Beholding one so bright in dark estate, 

I vow'd that could I gain her, our kind Queen, 

No other hand but hers, should make your Enid burst 

Sunlike from cloud — and likewise thought perhaps, 

That service done so graciously would bind 

The two together, for I wish the two 

To love each other. Enid cannot find 

A nobler friend : another thought I had, 

I came among you here so suddenly, 

I told my love for her so suddenly, 

That tho' her gentle presence at the lists 

* " And Geraint inquired of the man of the house, whether 
there were any of his companions that he wished to invite to 
him, and he said that there were. ' Bring them hither, and 
entertain them at my cost with the best thou canst buy in 
the town.' And the man of the house brought there those 
whom he chose, and feasted them atGeraint's expense." — The 
" Mabinogion," p. 169. London, 1877. 



56 IDYLLS OF THE KING. 

Might well have served for proof that I was loved, 

I doubted whether filial softness in her, 

Or waxen nature had not let itself 

Be moulded by your wishes for her weal — 

Or whether some false sense in her own self 

Of my contrasting brightness, overbore 

Her fancy dwelling in this dusky hall, 

And that same sense might make her long for court 

And all its dangerous glories; and I thought, 

That could I someway prove that force in her 

Linkt with such love for me, that at a word 

(No reason given her) she could cast aside 

A splendour dear to women, new to her 

And therefore dearer, or if not so new 

Yet therefore tenfold dearer by the power 

Of intermitted custom, then I felt 

That I could rest a rock in ebbs and flows, 

Fixt on her faith : now therefore I do rest, 

A prophet certain of my prophecy, 

That never shadow of mistrust can cross 

Between us. Grant me pardon for my thoughts, 

I have not kept them long. I promise you 

That when we come once more, as come we shall, 

To see you, she shall wear your noble gift, 

Here at your own warm hearth, with, on her knee, 

Who knows? another gift of the high God, 

Which maybe shall have learn'd to lisp you thanks.' 

Then smiled the mother, pleased, but half in tears 

To hear him talk so solemnly and well : 

And brought a mantle down and wrapt her in it, 

And claspt and kiss'd her, and they rode away. 

In the last thirty-seven lines of the selection there 
are ninety-seven variations from the text of the '92 



THE BEGINNINGS OF THE IDYLLS. 57 

edition. There were changes made in the selection 
in '57, '59, and '73. The " waxen" nature of the 
South Kensington " Enid," which Geraint feared 
had let itself be moulded by the wishes of parents, 
becomes her " easy" nature in the British Museum 
copy, " and that same" sense, which might make her 
long for court and all its dangerous glories, becomes 
"and such a" sense in '57, while the "dangerous" 
glories become " perilous" glories in '73. 

In addition to the one hundred and three changes 
actually made in this selection, there are in the 
British Museum copy two manuscript revisions 
which were not adopted, — knew for felt in the lines, 

then I felt 
That I could rest a rock in ebbs and flows, 



and the lines 



Grant me pardon for my thoughts, 
I have not kept them long. I promise you 
That when we come once more, as come we shall, 
To see you, she shall wear your noble gift, 

were so corrected that, if the manuscript corrections 
had been followed, they would have read, 

Grant me pardon for my thoughts, 
I have not kept them long. I pledge my faith 
That Enid, when we come, some golden day, 
As come we will, shall wear your noble gift, 

This correction, however, was not the one adopted, 
and the lines appeared in '59 as, 



58 IDYLLS OF THE KING. 

Grant me pardon for my thoughts : 
And for my strange petition I will make 
Amends hereafter by some gaudy-day, 
When your fair child shall wear your costly gift 

and with this change there disappeared in '59 the '57 
line, which made the mother " pleased" 

To hear him talk so solemnly and well. 

3. Manuscript Revisions not adopted. 

There is a difference of opinion among lovers of 
Tennyson with regard to the value of the changes 
which the poet introduced into successive editions 
of his works. To some — unwilling, perhaps, to see 
the jewel of his thought, which was in a form already- 
approved and familiar, given a new and strange set- 
ting — these successive refinements are occasionally 
but attempts to paint the lily and throw a perfume 
on the violet. Whether Lord Tennyson's literary 
taste was always unerring enough to restrain him 
from finally adopting tentative improvements which 
are no improvement is, perhaps, a matter of taste. 
But that he attempted improvements which did not 
finally commend themselves to his own taste is a 
matter of fact. 

The first autograph correction, aside from punctu- 
ation, in the '57 (British Museum) copy is to the five 

lines, 

and everywhere 
Was hammer laid to hoof, and the hot hiss 
And bustling whistle of the squire who scour'd 
His master's armour ; and of such a one 



THE BEGINNINGS OF THE IDYLLS. 59 

He ask'd, ' What means the tumult in the town?' 
Who said, ' The sparrow-hawk, you ask that know.' 

The words Was hammer laid to have been struck out 
and above them has been written The clink of ham- 
mered. The word armour is also crossed out and the 
word arms written above. The pen was drawn 
through the whole of the fourth line and above it 
was written, ' What means the noise & hurly burly 
here' ? The fifth, or last, line was also crossed out and 
above it was written, Was answer 'd fair lord, the 
sparrow-hawk.' None of these corrections were 
adopted. Yet the '59 edition differs from the '57 
copy. In '59 we have, instead of squire, youth. The 
last line, which in the '57 copy reads, 

Who said, ' The sparrow-hawk, you ask that know/ 

is in '59, 

Who told him, scouring still ' The sparrow-hawk !' 

That is to say, after making the trial corrections 
on the '57 copy as quoted above, Lord Tennyson, 
adopting none of these, printed the first four lines 
in '59 as they were originally in the '57 copy (with 
the exception of one word), and revised again the 
fifth line, so that as printed in '59 it agrees neither 
with the '57 copy nor with the manuscript revisions 
thereof. 

The manuscript corrections in the early texts 
which were not adopted in '59 are given in the sum- 
mary of variations on the pages following. Our 



60 IDYLLS OF THE KINO. 

interest in these tentative, experimental forms of 
expression need not be an idle curiosity, for by 
means of these we are enabled to see to some extent 
the workings of the poet's mind. His version of 
the Yivien legend is a chaste presentation of a dis- 
agreeable subject. By a study of these early texts 
we learn with what care Lord Tennyson sought to 
avoid as far as possible the disagreeable features in- 
herent in the subject. There are certain lines which 
were marked in the South Kensington "Nimue" 
as though for omission and then re-marked " stet," 
doubtless as being indispensable to a description of 
the state of society produced by Yivien and her 
kind. 

4. A Summary of Variations in the Text. 

The poetry of Lord Tennyson furnishes an ad- 
mirable basis for textual criticism because of the 
changes which occur in successive editions of the 
same poem. And inasmuch as Tennyson is a con- 
summate artist, we may assume that these changes 
have not been due to mere caprice. To students of 
Tennyson, therefore, the following summary of va- 
riations * in the text may not prove unwelcome. 

* "With the courteous permission and kindly encouragement 
of Dr. Kichard Garnett, Keeper of Printed Books in the 
British Museum, I collated " Enid and Nimue : The True and 
the False" as printed in '57 with the poems as published in 
'59, noting also the changes in the successive editions of '62, 
'69, '73, '75, '84, '86, '90, and '92. 

For the collation of the South Kensington copies I am in- 



THE BEGINNINGS OF THE IDYLLS. 61 

As to the changes made since '59 the summary is, 
in all probability, not exhaustive. The difficulty of 
making a complete list of variations in successive 
editions may be inferred from the publishers' note 
to the '93 edition of " The Works of Tennyson," 

Printed by R. & R. Clark, January 1884. Reprinted, 
with slight corrections, April 1884. Reprinted February 
and October 1885 ; May 1886 ; with slight alterations, De- 
cember 1886. Reprinted 1887 ; May and November 1888 ; 
with many additions, February 1889. Reprinted April 
and December 1889 ; June and November 1890; July and 
December 1891. Complete edition with additions, Janu- 
ary 1893. Reprinted May 1893. 

It is difficult to procure copies of all these editions 
printed " with slight alterations," as even the Library 
of the British Museum does not contain a copy of 
every edition of the works of him who " ranks the 
first of English poets in making the art of expres- 
sion a luxury and an ornament," * " one of the 
greatest masters of metre, both simple and sonorous, 
that the English language has ever known." f 

In the following summary tbere are given the more 
important variations in the early texts, many mere 
typographical variations and variations in punctu- 
ation being not included. By K. is designated the 
South Kensington Museum "Enid," the first print 

debted to Mr. D. Guernsey Jones of the University of Hei- 
delberg. 

* Edinburgh Review, October, 1881. 

f Macmillan's Magazine, December, 1872. 



62 IDYLLS OF THE KING. 

of the poem ; by '57, the British Museum "Enid and 
Nimue : The True and the False ;" by MS., the manu- 
script revisions in this British Museum '57 copy 
which were not adopted in '59 ; and by '59, the first 
edition of the " Idylls of the King." Eeferences to 
page and line are to page and line of the complete 
edition of the " Idylls of the King," in one volume, 
published by Macmillan & Co., London, 1889, and re- 
printed in '91, '92, '94. The first number within a 
parenthesis following a quotation from the poem is 
the number of the page upon which the quotation 
may be found in the edition above cited, the second 
number is the number of the line upon this page. 
For example, the first line quoted (85, 4) is the 
fourth line of the eighty-fifth page of the Macmillan 
edition of the " Idylls of the King." 

ENID. 

'57. Had wedded Enid, Yniol's only child, 

'69. Had married Enid, Yniol's only child, (85, 4.) 

'57. And therefore, till the king himself should please 
To cleanse this common shore of all his realm, 

'59. And therefore, till the king himself should please 
To cleanse this common sewer of all his realm, (86, 20.) 

'57. the jorince and Enid rode, 

And fifty knights rode with them, to the ford 
Of Severn, 

'59. the Prince and Enid rode, 

And fifty knights rode with them, to the shores 
Of Severn, (86, 25.) 



THE BEGINNINGS OF THE IDYLLS. 63 

'57. At last, it chanced that on a summer morn 
(They sleeping each by other) the new sun 
Beat thro' the blindless casements of the room, (87, 24.) 

In '59 casements is changed to casement; and in 
'69, other to either. 

K. And bared the column of his knotted throat, 

The massive heroic of his square breast, 
'57. And bared the knotted column of his throat, 

The massive square of his heroic breast, (88, 3.) 

'57. At this he snatch? d his great limbs from the bed, 
'59. At this he hurVd his huge limbs out of bed,* (90, 1.) 

'57. And Enid wonder 'd at him : 

But then bethought her of a faded silk, 
'59. And Enid asFd, amazed, 

l If Enid errs, let Enid learn her fault.' 

But he, ' i" charge you, ask not but obey. 7 

Then she bethought her of a faded silk, (90, 8.) 

'57. But Guinevere lay late into the morn, 

Lost in sweet dreams, and dreaming of her love 
For Launcelot, and forgetful of the hunt; (91, 8.) 

"We have this spelling of Launcelot, which is the 
same as in Tennyson's early poem, "Sir Launcelot 
and Queen Guinevere," three times in the '57 copy, — 
as given above, and in the lines (86, 7), 

But when a rumour rose about the Queen, 
Touching her guilty love for Launcelot, 



* See discussion of this line in Appendix. 



64 IDYLLS OF THE KING. 

and once in " Nimue" (197, 13), just before Vivien's 
song in which occurs the reference to " the little rift 
within the lute That by and by will make the music 
mute." She says, " I heard the great Sir Launcelot 
sing it once." 

'57. and everywhere 

Was hammer laid to hoof, and the hot hiss 
And bustling whistle of the squire who scour'd 
His master's armour ; and of such a one 
He ask'd, ' What means the tumult in the town?' 
Who said, ' The sparrow-hawk, you ash that hnow.' 
MS. and everywhere 

The clink of hammered hoof, and the hot hiss 
And bustling whistle of the squire who scour'd 
His master's arms ; and ashing one of these 
1 What means the noise & hurly burly herd ? 
Was answer' d fair lord, the sparrow-haw h' 

'59. and everywhere 

Was hammer laid to hoof, and the hot hiss 
And bustling whistle of the youth who scour'd 
His master's armour ; and of such a one 
He ask'd, 'What means the tumult in the town?' 
Who told him, scouring still ' The sparrow-hawk ! ' 

(95, 3.) 

'57. He answer'd gruffly, ' Ugh ! the sparrow-hawk.' 
MS. And had for answer, ' Ugh ! the sparrow-hawk.' 

'59. Who answer'd gruffly, ' Ugh ! the sparrow-hawk.' 

(95, 13.) 

'57. Then riding further past an armourer's, 
MS. Then riding further past an armourer's booth, 

'57. Sat riveting a skull-cap on his knee, 

'59. Sat riveting a helmet on his knee, (95, 16.) 



THE BEGINNINGS OF THE IDYLLS. 65 

K. At this Geraint flash' d into sudden spleen : — 
1 A thousand pips eat up your sparrow-hawk 
Who think the rustic cackle of your bourg 
The murmur of the world ! What is it to me ? 
A wretched set of sparrows, one and all, 
Who pipe of nothing but of sparrow-hawks ! 
Speak, if you be not like the rest, hawk mad, 
Where can I get me harbourage for the night ?' 

And there is scantly time for half the work. 
Lodging, in truth, good truth, I know not, save, 
It may be, at Earl Yniol's, o'er the bridge 
Yonder.' He spoke and fell to work again. 
'57. Whereat Geraint flash'd into sudden spleen : 
' A thousand pips eat up your sparrow-hawk / 
Tits, wrens, and all winged nothings peck him dead ! 
You think the rustic cackle of your bourg 
The murmur of the world ! What is it to me ? 
wretched set of sparrows, one and all, 
Who pipe of nothing but of sparrow-hawks ! 
Speak, if you be not like the rest, hawk-mad, 
Where can I get me harbourage for the night? 
And arms, arms, arms to fight my enemy ? /Speak /' 

Anns f truth, I know not : all are wanted here. 
Harbourage ? truth, good truth, I know not, save, 
It may be, at Earl Yniol's, o'er the bridge 
Yonder.' He spoke and fell to work again. (95, 20.) 

'57. Came forward with the helmet yet in hand (96, 7) 
And answered, ' Pardon me, stranger knight, 

MS. Came forward with the skull-cap yet in hand 
And O ' said he pardon me stranger knight; 

'59. Came forward with the helmet yet in hand 

And answer'd, ' Pardon me, O stranger knight / 
5 



G6 IDYLLS OF THE KINO. 

In the British Museum copy the word helmet (in 
the line 96, 7) is crossed out and skull-cap is written 
below. But this correction was not adopted. It is 
of interest in this connection that we find in the '57 
copy, a few lines above, not helmet but skull-cap. The 
two lines are : 

'57. Sat riveting a skull-cap on his knee. (95, 16.) 

'57. Came forward with the helmet yet in hand. (96, 7.) 

Apparently, in order to be consistent the poet 
changed the helmet in the latter line to skull-cap, the 
term applied in the line above. But later, ignoring 
this correction, he made the change in the first line, 
so that the '57 line, 

Sat riveting a skull-cap on his knee, 

in '59 reads, 

Sat riveting a helmet on his knee. 

In one other instance the '57 copy has skull-cap, 
which was changed to helmet in '59, the line (107, 16), 

'57. And crackt the skull-cap thro', and bit the bone. 

In the '57 copy Geraint once " aim'd at the " helm" of 
his enemy, and Earl Doorm " doff'd his helm." In 
the " Mabinogion," Geraint on two distinct occasions 
broke his enemy's " head-armour" and " wounded 
the bone." 

K. But in, go in ; for save yourself desire it 
We will not touch upon him ev'n in game.' 



THE BEGINNINGS OF THE IDYLLS. 67 

'57. But in, go in ; for save yourself desire it 

We will not touch upon him ev'n in jest. (97, 6.) 

K. Thy wheel and thee are shadows in the cloud ; 

'57. Thy wheel and thou are shadows in the cloud ; 

(99, 5.) 

'57. ' Hark, by the bird's song you may learn the nest' 
Said Yniol ; ' Enter quickly.' Entering then 
The dusky-rafter'd, many-cobweb'd Hall, 

'59. ' Hark, by the bird's song you may learn the nest' 
Said Yniol ; ' Enter quickly.' Entering then, 
Bight o'er a mount of newly-fallen stones, 
The dusky-rafter'd, many-cobweb'd Hall, (99, 8.) 

'57. But none spake word except the hoary Earl : 

' Enid, the good knight's horse stands in the court ; 
Take him to stall and give him corn, and then 
Go to the town and buy us flesh and wine ; 
And we will make us merry as we may. 

MS. But none spake word except the hoary Earl : 
Rest, friend : the maiden serves : it is her wont : 
1 Enid, the good knight's horse stands in the court ; 
Take him to stall and give him food, and thence 
Go to the town and buy us flesh and wine ; 
And we will make us merry as we may. 

'59. But none spake word except the hoary Earl : 

' Enid, the good knight's horse stands in the court ; 
Take him to stall, and give him corn, and then 
Go to the town and buy us flesh and wine ; 
And we will make us merry as we may. (99, 17.) 

'57. Our hoard is little, but our hearts are great.' 

Then Enid took the knight's horse to the stall, 
And litter' d him and gave him hag and corn; 
And after went her way across the bridge, 



68 IDYLLS OF THE KING. 

'59. Our hoard is little, but our hearts are great.' 
He spake : the Prince, as Enid past him, fain 
To follow, strode a stride, but Yniol caught 
His purple scarf, and held, and said * Forbear ! 
Rest I the good house, tho' ruin'd, my Son, 
Endures not that her guest should serve himself.' 
And reverencing the custom of the house 
Geraint, from utter courtesy, forebore. 

So Enid took his charger to the stall ; 
And after went her way across the bridge, (99, 22.) 

The '57 line describing Enid's care of Geraint's 
horse, "And litter'd him and gave him hay and 
corn," omitted in '59, is in the " Mabinogion," " and 
then she furnished his horse with straw and with 
corn." 

The reader in whose mind is fresh the admiring 
exclamation of the Prince, 

Here, by God's grace, is the one voice for me, 
and 

Here by God's rood is the one maid for me, 

can well approve the poet's rejection of the manu- 
script line written in the '57 copy, but not found in 
the '59 edition, 

Best, friend : the maiden serves : it is her wont : 

a line which lessens the " utter courtesy" of the 
service performed for the knight by making menial 
service the patrician maiden's " wont ;" whereas the 
lines added in the '59 edition describing the unwill- 
ingness of the Prince to allow so sweet a high-born 
maid to perform so menial a task and his refraining 



THE BEGINNINGS OF THE IDYLLS. 69 

from himself performing this task, from "utter 
courtesy," "reverencing the custom of the house," 
forbearing to wound the pride of the fallen Earl, — 
these add greatly to the beauty of the scene, as does 
also the omission of the line in the '57 copy am- 
plifying the details in regard to the care of the 
knight's horse, the stable service of feeding and of 
littering him, though, indeed, some previous experi- 
ence of this sort might not come amiss in enabling 
Enid to "drive on before her" the twelve horses, 
which, according to the " Mabinogion," Geraint won 
that day. Even thus her success was but moderate. 
"And it grieved him as much as his wrath would 
permit, to see a maiden so illustrious as she having 
so much trouble with the care of the horses." 

'57. A youth, that following in a costrel bore 

'59. A youth, that following with a costrel bore (100, 10.) 

K. I am Geraint 

Of Droon — for this morning when the Queen 

'57. I am Geraint 

Of Devon — for this morning when the Queen 

(101, 7.) 
'57. For but to hear of these is grateful to us 

Who see but acts of violence ; such a pair 

Of suitors had this maiden ; 
MS. So grateful is the noise of noble deeds 

To those who suffer wrong, & such a pair 

Of suitors had this maiden ; 
'59. So grateful is the noise of noble deeds 

To noble hearts who see but acts of wrong : 

never yet had woman such a pair 

Of suitors as this maiden ; (102, 9.) 



70 IDYLLS OF THE KING. 

In '59 the " pair of suitors" are introduced more skil- 
fully. In reading the '57 copy the mind halts at the 
line, " such a pair of suitors had this maiden," in 
the effort to recollect where this pair of suitors was 
described, but in the '59 form of statement the mind 
runs on to the description following without effort. 

K. And placed me in this ruinous castle here, 
'57. And keeps me in this ruinous castle here, (103, 7.) 

'57. That if, as I suppose, your nephew fights 

'69. That if the sparroiv-hawh, this nephew, fight (103, 20.) 

'57. Two forks are fixt into the meadow ground, 
And over these is laid a silver wand, 
And over that is placed the sparrow-hawk, 

'73. Two forks are fixt into the meadow ground, 
And over these is placed a silver wand, 
And over that a golden sparrow-hawk, (104, 2.) 

'57. (Who hearing her own name had slipt away) 

'84. (Who hearing her own name had stol'n away) (105, 2.) 

'57. Beheld her there before him in the field 

'59. Beheld her^rs^ infield, awaiting him, (106, 9.) 

In the '57 version " there before him" is, perhaps, 
intended as an adverbial element of place, 

and when Geraint 
Beheld her there before him in the field 
He felt, were she the prize of bodily force, 
Himself beyond the rest pushing could move 
The chair of Idris. 



THE BEGINNINGS OF THE IDYLLS. 71 

though the expression may be taken as an adverbial 
element of time. There is no obscurity in the '59 
line. 

'57. And over these they placed a silver wand, 
And over that a golden sparrow-hawk. 

'73. And over these they placed the silver wand, 

And over that the golden sparrow-hawk. (106, 18.) 

In the '57 copy the two accounts of fixing the 
forks into the ground and placing in position the 
silver wand and the sparrow-hawk (104, 2, and 106, 
18) seem to be independent. The second account 
describes the placing of a silve"r wand and of a 
golden sparrow-hawk. (The first account does not 
make the sparrow-hawk "golden.") But in '73 the 
sparrow-hawk is called " golden" in the first de- 
scription, and in the second description we have no 
longer a silver wand and a golden sparrow-hawk, 
but the silver wand and the golden sparrow-hawk. 
That is, the two accounts are now associated in the 
poet's mind. 

'57. For I these two years past have won it for thee, 
'86. What I these two years past have won for thee, 

(106, 23.) 
'57. And cracks the skull-cap thro', and bit the bone, 
'59. And crack'd the helmet thro,' and bit the bone, 

(107, 16.) 
'57. First, thou thyself, thy lady, and thy dwarf, 

Shalt ride to Arthur's court, and being there, 
'73. First, thou thyself, with damsel and with dwarf, 
Shalt ride to Arthur's court, and coming there, 

(107, 24.) 



72 IDYLLS OF THE KINO. 

The companion of the sparrow-hawk, here called 
lady in '57 and damsel in '73, is in '93 still designated 
as a lady on p. 92, 1. 11, p. 104, 1. 7, and p. 106, 1. 21. 

'57. And being young, he changed himself, and grew 
To hate the sin that seem'd so like his own 
Of Modred, Arthur's nephew, and fell at last 
In the great battle fighting for the king. 

'69. And being young, he changed and came to loathe 
His crime of traitor, slowly drew himself 
Bright from his old dark life, and fell at last 
In the great battle fighting for the king. (108, 11.) 

'57. Sweet heavens, how much I shall discredit him ! 

Would he but tarry with us a day or two ; 
'59. Sweet heaven, how much I shall discredit him ! 

Would he could tarry with us here awhile! (109, 13.) 

'57. Yet if he would but rest a day or two, 
Myself would work my fingers to the bone, 
Far rather than so much discredit him.' 

'59. Yet if he could but tarry a day or two, 

Myself would work eye dim, and finger lame, 
Far liefer than so much discredit him.' (109, 19.) 

'57. And answer'd, ' Yea, I know it ; your good gift, 
MS. And answer'd, ' Oh, I know it ; your good gift, 
'59. And answer'd, ' Yea, I know it ; your good gift, 

(112, 4.) 
'57. But since our fortune slipt from sun to shade, 
'84. But since our fortune swerved from sun to shade, 

(113, 3.) 

K. And should some great court-lady say, the Prince 
Hath picktf & pretty beggar from the hedge, 
And like a madman brought her to the court, 



THE BEGINNINGS OF THE IDYLLS. 73 

'59. And should some great court-lady say, the Prince 
Hath pick'c? a ragged-robin from the hedge, 
And like a madman brought her to the court, 

(113, 12.) 

"In an early 'Calendar of English Flowers' we 
are told that ' Poor Eagged Eobin blossoms in the 
haie' (hedge). It is a red wildflower, also called 
Cuckoo-flower, and is common in English hedgerows; 
but when Enid's mother speaks of a Eagged Eobin 
from the hedge, she is thinking less of the literal 
wildflower than of a ragged beggar-girl from the 
roadside." — Littledale, " Essays on Lord Tennyson's 
Idylls of the King," p. 132. Macmillan & Co., Lon- 
don, 1893. 

In determining whether or no the change is for us 
an improvement, we should, perhaps, recall the words 
with which Guinevere sent Geraint forth on his ad- 
venture, 

1 Farewell, fair Prince/ answer' d the stately Queen. 
' Be prosperous in this journey, as in all ; 
And may you light on all things that you love, 
And live to wed with her whom first you love : 
But ere you wed with any, bring your bride, 
And I, were she the daughter of a king, 
Yea, tho' she were a beggar from the hedge, 
Will clothe her for her bridals like the sun.' 

In the following there are three huts in close prox- 
imity in the South Kensington copy (the second of 
these is changed to and in '57), and there is uncer- 
tainty as to punctuation in all the early copies. In 



74 IDYLLS OF THE KING. 

the South Kensington " Enid" there is a quotation 
mark before Whom in the second line, in '57 it is 
placed before Flur, in '59 it is omitted altogether and 
a comma is placed after we in the line before the last. 
In '73 the lines are as in '92. 

K. And calPd her like that maiden in the tale, 

' Whom Gwydion made by glamour out of flowers, 
And sweeter than the bride of Cassivelaun, 
Flur, for whose love the Roman Csesar first 
Invaded Britain, but we beat him back, 
As this great prince invaded us, but we 
Not beat him back, but welcomed him with joy. 

(114, 6.) 

'57. Laid from her limbs the costly -braided gift, 
'59. Laid from her limbs the costly -broider 1 d gift, 

(115, 7.) 

'57. Thereafter, when I reach'd this ruin'd hold, 
Beholding one so bright in dark estate, 
I vow'd that could I gain her, our Jcind Queen, 

'73. Thereafter, when I reach'd this ruin'd hall, 
Beholding one so bright in dark estate, 
I vow'd that could I gain her, our fair Queen, 

(115, 23.) 

K. for I wish the two 

To love each other. Enid cannot find 
A nobler friend : another thought I had, 

'57. for I wish the two 

To love each other; Enid cannot find 
A nobler friend. Another thought I had; 

'59. for I wish the two 

To love each other: how should Enid find 
A nobler friend? Another thought i" had ; 



TEE BEGINNINGS OF TEE IDYLLS. 75 

'73. fain I would the two 

Should love each other : how can Enid find 
A nobler friend ? Another thought was mine ; 

(116, 3.) 

K. I came among you here so suddenly, 
Hold my love for her so suddenly, 
That tho' her gentle presence at the lists 
Might well have served for proof that I was loved, 
I doubted whether filial softness in her, 
Or waxen nature had not let itself 
Be moulded by your wishes for her weal — (116, 6.) 

In '57 the second line, " I told my love for her so 
suddenly," is omitted and Enid's "waxen" nature 
becomes her "easy" nature. In '59 for the "filial 
softness in her" of '57 we have " filial tenderness," 
which in '73 becomes " daughter's tenderness." In 
'57 we have " had," in '59 " did," and in '73 " might" 
not let itself be moulded by your wishes for her 
weal. 

K. And that same sense might make her long for court 
'57. And such a sense might make her long for court 

K. And all its dangerous glories ; and I thought, 
'73. And all its perilous glories : and I thought, 

'57. That could I someway prove that force in her 
'59. That could I someway prove such force in her 

K. Of intermitted custom, then I felt 
'73. Of intermitted usage ; then I felt 
MS. then I knew 

That I could rest a rock in ebbs and flows, 
Fixt on her faith : (116, 23.) 



76 IDYLLS OF THE KINO. 

There are nine pages in Tennyson concerning the 
wearing of the faded silk to court, seven lines in the 
" Mabinogion." " Where is the Earl Ynywl," said 
Geraint, "and his wife, and his daughter?" "They 
are in the chamber yonder," said the Earl's chamber- 
lain, "arraying themselves in garments which the 
Earl has caused to be brought for them." " Let the 
damsel not array herself," said he, " except in her 
vest and her veil, until she corn^ to the Court of 
Arthur, to be clad by Gwenbwyvar, in such garments 
as she may choose." So the maiden did not array 
herself, p. 152. 

'57. Grant me pardon for my thoughts, 

I have not kept them long. I promise you 
That when we come once more, as come we shall, 
To see you, she shall wear your noble gift, 
Here at your own warm hearth, with, on her knee, 
Who knows ? another gift of the high God, 
Which maybe shall have learn'd to lisp you thanks.' 
Then smiled the mother, pleased, and half in tears 
To hear him talk so solemnly and well: 
And brought a mantle down and wrapt her in it, 
And claspt and kiss'd her, and they rode away. 
MS. Grant me pardon for my thoughts, 

I have not kept them long. I pledge my faith 
That Enid, when we come, some golden day, 
As come we will, shall wear your noble gift, 
Here at your own warm hearth, with, on her knee, 
Who knows ? another gift of the high God, 

And claspt and kiss'd her, and they rode away. 
'59. Grant me pardon for my thoughts : 

And for my strange petition I will make 



THE BEGINNINGS OF THE IDYLLS. 77 

Amends hereafter by some gaudy-day, 
When your fair child shall wear your costly gift 
Beside your own warm hearth, with, on her knees, 
Who knows ? another gift of the high God, 
Which, maybe, shall have learn'd to lisp you thanks.' 

He spoke : the mother smiled, but half in tears, 
Then brought a mantle down and wrapt her in it, 
And claspt and kiss'd her, and they rode away. 

(117, 1.) 
K. Now on that morning Guinevere had climb'd 
The summit of that tower from which they say 
Men saw the goodly hills of Somerset, 
'57. Now on that morning Guinevere had climb'd 
The giant tower from whose high crest they say 
Men saw the goodly hills of Somerset, (117, 11.) 

In '59 " Now on that morning" becomes " Now thrice 
that morning." 

K. O purblind race of miserable men, 
How many among us at this very hour 
Do forge a life-long trouble for ^Aemselves, 
By taking false for true, or true for false ; 
'57. O purblind race of miserable men, 
How many among us at this very hour 
Do forge a life-long trouble for ourselves, 
By taking true for false, or false for true; (119, 1.) 

'59. Bound was their pace at first, but slacken' d soon : 

'57. (Not in '57). (120, 21.) 

'57. In shadow, waiting for them, varlets all ; 

'59. In shadow, waiting for them, caitiff's all; (121, 20.) 

'57. ' Did I wish 

Your silence or your learning ? 



78 IDYLLS OF THE KING. 

'69. ' Did I wish 

Your warning or your silence? (122, 13.) 

Doubtless it was the influence of his source which 
led the poet into this error. In the " Mabinogion," 
p. 164, Geraint says, " I wish but for silence, and not 
for warning." And this is the correct order for a 
declarative sentence. But when the sentence was 
put into the interrogative form, it was necessary to 
change the order of silence and warning, if it was 
desired to imply the answer by the form of the 
question. And yet not until '69 do we have 

Did I wish 
Your warning or your silence ? 

K. Swung from his brand a windy buffet out 

Once more to right, to left, and stunn'd the twain 
Or slew them, 
'57. Swung from his brand a windy buffet out 

Once, twice, to right, to left, and stun'd the twain 
Or slew them, (123, 3.) 

'57. And all in charge of a mere girl : set on.' 

'59. And all in charge of whom ? a girl : set on.' (124, 13.) 

'57. That had a sapling growing on it, slip 

'73. That had a sapling growing on it, slide (126, 1.) 

K. And I am also his; and I will tell him 
'57. And I myself am his ; and I will tell him (128, 16.) 

'57. And stabling for the horses, and return 

'59. And stalling for the horses, and return (129, 2.) 



THE BEGINNINGS OF THE IDYLLS. 79 

K. Then marie* d the mowers labouring dinnerless, 
'57. Then with another humourous ruth remark' d 

The lusty mowers labouring dinnerless, (129, 13.) 

K. She answer'd, ' Thanks, my lord :' they rested mute, 
Like creatures voiceless from the fault of birth, 
Or two wild men supporters of a shield 
Painted, who stare at open space, nor glance 
The one at other, parted by the shield, 
And sunder' d by the whole breadth of the room. 

'57. She answer'd, 'Thanks, my lord:' they two remained, 
Divided by the chamber's width and mute 
As creatures voiceless by the fault of birth, 
Or two wild men supporters of a shield, 
Painted, who stare at open space, nor glance 
The one at other, parted by the shield. 

'59. She answer'd, 'Thanks, my lord;' the two remained 
Apart by all the chamber's width, and mute 
As creatures voiceless thro 7 the fault of birth, 
Or two wild men supporters of a shield, 
Painted, who stare at open space, nor glance 
The one at other, parted by the shield. (130, 2.) 

K. Then calVd Geraint for wine and goodly cheer 
To feed the sudden guest, and Earl Limours 
Drank till he jested with all ease, 

'57. Then calVd Geraint for wine and goodly cheer 
To feed the sudden guest, and bad the host 
Call in what men soever were his friends, 
And feast with these in honour of their earl ; 
1 And care not for the cost; the cost is mine.' 
And wine and food were brought, and Earl Limours 
Drank till he jested with all ease, 

'59. Then cried Geraint for wine and goodly cheer 
To feed the sudden guest, and sumptuously 
According to his fashion, bad the host 



80 IDYLLS OF THE KINO. 

Call in what men soever were his friends, 
And feast with these in honour of their earl ; 
1 And care not for the cost ; the cost is mine.' 

And wine and food were brought, and Earl Limours 
Drank till he jested with all ease, (130, 21.) 

K. thus he moved the Prince 

To laughter and his menay to applause. 
'57. thus he moved the Prince 

To laughter and his comrades to applause. (131. 7.) 

K. And when the Prince was merry, ask'd Limours 
' Have /your leave, my lord, to cross, and speak 
To your good damsel there who sits apart 
'57. Then, when the Prince was merry, ask'd Limours, 
' Your leave, my lord, to cross the room, and speak 
To your good damsel there who sits apart, (131, 9.) 

K. Like one that tries new ice if it will bear, 
'57. Like one that tries old ice if it will bear, 
'59. Like him who tries the bridge he fears may fail, 

(131, 15.) 
K. I thought, but that your father came between, 
In former days you saw me favourably .• 
And if it were so do not keep it back. 
Owe you me nothing for a life half-lost ? 
Yea, yea, the whole dear debt of all you are. 
'57. I thought, but that your father came between, 
In former days you saw me favourably. 
And if it were so do not keep it back .• 
Make me a little happier : let me know it : 
Owe you me nothing for a life half-lost ? 
Yea, yea, the whole dear debt of all you are. 

(131, 26.) 



THE BEGINNINGS OF THE IDYLLS. 81 

'57. And, Enid, you and he, I see it with joy — 
73. And, Enid, you and he, I see with joy, (132, 6.) 

K. and your wretched dress, 

A wretched insult on you, dumbly shrieks 
Your story, that this man loves you no more. 
Your beauty is to him beauty no more. 
'57. and your wretched dress, 

A wretched insult on you, dumbly speaks 
Your story, that this man loves you no more. 
Your beauty is no beauty to him now : (132, 13.) 



K. You need not look so scared at what I say : 
'57. Nor need you look so scared at what I say : (132, 25.) 

'57. The one true lover which you ever had, 

73. The one true lover whom you ever own'd, (133, 4.) 

'57. To-night lam quite weary and worn out.' 

'59. Leave me to-night: lam weary to the death.' (133, 18.) 

K. Anon she rose and stepping lightly heap'd 
The pieces of his armour in one place 
To be at hand against a sudden need, 

'57. Anon she rose and stepping lightly heap'd 
The pieces of his armour in one place, 
All to be there against a sudden need; (134, 9.) 

K. That tho' he thought ' was it for him she wept 
In Devon ?' he but gave an angry groan, 
Saying ' your sweet faces make good fellows fools 
And traitors; call the host and bid him bring 
My charger and your palfrey.' Enid went : 
He arm'd, and issuing found the host and cried, 
6 



82 IDYLLS OF THE KING. 

' Your reckoning, friend ?' and ere he learnt it, ' Take 
Five horses and their armours,' then the host 
Amazed, ' I have not spent the worth of one.' 
1 You will be all the wealthier' cried the Prince. 
'57. That tho' he thought, ' was it for him she wept 
In Devon ?' he but gave a wrathful groan, 
Saying 'your sweet faces make good fellows fools 
And traitors. Call the host and bid him bring 
Charger and palfrey.' So she glided out 
Among the heavy breathings of the house, 
And like a household spirit at the walls 
Beat, till she woke the sleepers, and return' 'd : 
Then tho' he had not ask'd her, tending him 
In silence, did him service as a squire ; 
Till issuing armtd he found the host and cried, 
4 Your reckoning, friend,' and ere he learnt it, * Take 
Five horses and their armours ;' and the host, 
Suddenly honest, answered in amaze, 
1 My lord, I have not spent the worth of one !' 
' You will be all the wealthier' said the Prince,' 

(135, 6.) 

'57. Then tho* he had not ask'd her, tending him 

'59. Then tending her rough lord, tho y all unasFd, (135, 14.) 

'57. ' My lord, I have not spent the worth of one !' 
'59. ' My lord, I scarce have spent the worth of one !' 

(135, 20.) 

'57. That whatsoever thing you see or hear 

'59. What thing soever you may hear, or see, (135, 24.) 

'57. Not quite mismated with a yawning clown, 

'73. Not all mismated with a yawning clown, (136, 9.) 

K. And that within her which an easy fool 

Or hasty judger would have called her guilt, 



THE BEGINNINGS OF THE IDYLLS. 83 

'57. And that within her which a wanton fool 

Or hasty judger would have calFd her guilt, (136, 15.) 

K. Dash'd on Geraint, who hurtled with him and bore 

'57. Dash'd on Geraint, who closed with him, and bore 

(137, 21.) 
'57. But if a man who stands upon the bank 

'59. But if a man who stand upon the brink (138, 5.) 

K. Then like a stormy sunlight smiled Geraint, 
Who saw the chargers of the two that fell 
Start masterless from their mute lords and fly, 
Mixt with the flyers. ' Honest friends /' he said, 
' Almost as honest as a weeping wife. 
Not a hoof left / 

'57. Then like a stormy sunlight smiled Geraint, 
Who saw the chargers of the two that fell 
Start from their fallen lords, and wildly fly, 
Mixt with the flyers. ' Horse and man,' he said, 
1 All of one mind and all right-honest friends / 
Wellnigh as honest as a weeping wife/ 
Not a hoof left: (138,13.) 

Omitted in '59. 

1 Wellnigh as honest as a weeping wife ; 

K. What say you therefore ? shall we strip him there 
'57. And so what say you ? shall we strip him there 

(138, 21.) 
K. Nor let her true hand falter or her eye 

Moisten, till she had lighted on his wound, 
'57. Nor let her true hand falter, nor blue eye 

Moisten, till she had lighted on his wound, (139, 19.) 

K. Another past, a whistling man-at-arms 
Bound on a mission to the bandit earl, 
And drove the dust against her veilless eyes ; 



84 IDYLLS OF THE KING. 

'57. Another hurried past, a man-at-arms 
Bound on a mission to the bandit earl, 
Half whistling and half singing a coarse song, 
And drove the dust against her veilless eyes : 

MS. Another pass 1 d, a man-at-arms, who rode 
Bound on a mission to the bandit earl, 
Half whistling and half singing a coarse song, 

'59. Another hurrying past, a man-at-arms, 
Bode on a mission to the bandit Earl ; 
Half whistling and half singing a coarse song, 
He drove the dust against her veilless eyes : (140, 9.) 

K. Then said Earl Doorm, ' Well, if he be not dead, 
Why wail you for him thus? you seem a child/ 
And if he be dead, I count you for a fool, 
Your wailing will not help him : either way 
You spoil a comely face with crying for him. 
'57. Then said Earl Doorm / ' Well, if he be not dead, 
Why wail you for him thus ? you seem a child. 
And be he dead, I count you for a fool / 
Your wailing will not quicken him : dead or not, 
You mar a comely face with idiot tears. (141, 4.) 

'57. (His gentle charger following all unled) 
And laid him on a settle in the hall, 

'59. (His gentle charger following him unled) 
And cast him and the bier in which he lay 
Down on an oaken settle in the hall, (142, 4.) 

" The Earl caused the knight that was dead to be 
buried, but he thought that there still remained 
some life in Geraint ; and to see if he would live, 
he had him carried with him in the hollow of his 
shield, and upon a bier." — The " Mabinogion," p. 179. 



THE BEGINNINGS OF THE IDYLLS. 85 

K. And out of her there flowed a power upon him, 
'57. And out of her there came a power upon him ; (143, 21.) 

K. For, I myself, when flush'd with fight, or hot, 
'57. Lo ! I, myself, when flush'd with fight, or hot, (145, 16.) 

K. He spoke, and one among his gentlewomen 

Display'd a splendid silk of costliest loom, 
'57. He spoke, and one among his gentlewomen 

Display'd a splendid silk of foreign loom, (146, 19.) 

The word foreign is used in the same sense in the 
" Mabinogion," p. 163. "Then went Geraint to the 
place where his horse was, and it was equipped with 
foreign armour, heavy and shining." 

'57. She only prayed him, ' Fly my lord at once 
Before these thieves return and murder you. 
Your charger is without, my palfrey lost 
For ever.' ' Then,' he answered, ' shall you ride 
Behind me.' 

'59. She only prayed him, ' Fly, they will return 
And slay you; fly, your charger is without, 
My palfrey lost.' 'Then, Enid, shall you ride 
Behind me.' (149, 5.) 

K. With a low whining towards the pair : 
'57. With a low whinny towards the pair : 
'59. With a low whinny toward the pair: (149, 13.) 

'57. then Geraint upon the horse 

Mounted, and lent an arm, and on his foot 

She set her own and climb'd ; 
'59. then Geraint upon the horse 

Mounted, and reached a hand, and on his foot 

She set her own and climb'd; (149, 15.) 



86 IDYLLS OF THE KING. 

In the '57 copy an arm is crossed out and a hand 
is written above ; then the whole is crossed out and 
reach 'd a hand written instead, which we find in '59. 

K. Than Enid felt, who in that perilous hour 
'57. Than Enid proved, 
MS. Than lived thro' her, 
'59. Than lived thro' her, 

MS. And never yet, since high in Paradise 
O'er the four rivers the first roses blew, 
Came purer pleasure unto mortal kind 
Than lived thro 7 her, who in that perilous hour 
Put hand to hand beneath her husband's heart, 
And felt him hers again : A she did not weep, 

she could not speak, [Written on 
Not even to her own self in silent words, margin 
And shadows of a sound : below] 

But o'er her meek eyes came a happy mist 
Like that which kept the heart of Eden green 
Before the useful trouble of the rain: (149, 23.) 

Stopford A. Brooke speaks of these as " some of the 
loveliest lines he ever wrote of womanhood." Each 
reader will doubtless prefer to judge for himself 
whether or no these " loveliest lines" would have been 
bettered by the adoption of the proposed addition. 

'57. Was half a bandit in my lawless days, 

'59. Was half a bandit in my lawless hour, (150, 27.) 

K. I come the mouthpiece of our king to Doorm 
(The king is close behind me), bidding him 
Disband himself, and scatter all his powers, 
Submitting to the judgment of the king.' 
Doorm is disbanded by the King of Fears, 



THE BEGINNINGS OF THE IDYLLS. 87 

And suffers judgment from the King of Kings,' 
Cried the wan Prince ; 

'57. I come the mouthpiece of our king to Doorm 
(The king is close behind me), bidding him 
Disband himself, and scatter all his powers 
Submitting to the judgment of the king.' 

1 He hath submitted to the King of Kings,' 
Cried the wan Prince ; 

'59. I come the mouthpiece of our King to Doorm 
(The King is close behind me) bidding him 
Disband himself, and scatter all his powers, 
Submit, and hear the judgment of the King.' 

1 He hears the judgment of the King of Kings,' 
Cried the wan Prince ; (151, 1.) 

K. ' Fair and dear cousin, fear not, I am changed. 
'57. ' Fair and dear cousin, you that most had cause 
To fear me, fear no longer, I am changed. (152, 4.) 

K. being repulsed 

By Yniol and yourself, I plotted, wrought 
Until I overturn'd him ; 
'57. being repulsed 

By Yniol and yourself, I schemed and wrought 
Until I overturn'd him; (152, 8.) 

K. I think I should have killed him. And you came, — 
'57. / think I should not less have kill'd him. And you 

came, — 
'59. I should not less have kill'd him. And you came, — 

(152, 25.) 
Evidently not less was written on some proof-sheet 
and the I think not crossed out. The '57 line, there- 
fore, contains twelve syllables. In the passage fol- 
lowing there is an error in the tense of a verb in the 
'57 copy, know in the fifth line. 



88 IDYLLS OF THE KING. 

K. And all the penance the Queen laid upon me 
Was but to rest awhile within her court. 
First was I sullen, like a beast new caged, 
And waiting to be treated like a wolf, 
Because they knew my doings ; but I found, 
Instead of scornful pity or pure scorn, 

'57. And all the penance the Queen laid upon me 
Was but to rest awhile within her court. 
Where first all-sullen, like a beast new-caged, 
And waiting to be treated like a wolf, 
Because I know they knew my deeds, I found, 
Instead of scornful pity or pure scorn, 

'59. And all the penance the Queen laid upon me 
Was but to rest awhile within her court ; 
Where first as sullen as a beast new-caged, 
And waiting to be treated like a wolf, 
Because I knew my deeds were known, I found, 
Instead of scornful pity or pure scorn, (153, 8.) 

K. But fear not, cousin ; I am changed indeed.' 
'57. But kept myself aloof till I was changed; 

And fear not, cousin; I am changed indeed.' (153, 27.) 

'57. but now behold me come 

To cleanse this common shore of all my realm, 

'69. but now behold me come 

To cleanse this common sewer of all my realm, (154, 21.) 

K. The king's own leach to look into his hurt, 

'57. The king's own leech to look into his hurt; (155, 24.) 

'57. On whom his father Uther left in charge 

'69. On each of all whom Uther left in charge (156, 9.) 

K. He look'd and found them wanting, and as men 
Weed the white horse upon the Berkshire hills 



THE BEGINNINGS OF THE IDYLLS. 89 

'57. He look'd and found them wanting; and as now 
Men weed the white horse on the Berkshire hills 

(156,11.) 

'57. And fifty knights rode with them to the ford 
Of Severn, and they past to their own land. 

'59. And fifty knights rode with them to the shores 
Of Severn, and they past to their own land. 

(157, 6.) 

'57. A happy life with a fair death, and fell 

At Longport, fighting for the blameless king. 

'59. A happy life with a fair death, and fell 
Against the heathen of the Northern Sea 
In battle, fighting for the blameless King. (157, 20.) 

The earlier copy, which says of G-eraint that he 
" fell at Longport," is closer to the original. In the 
notes to the "Mabinogion" we have, quoted from 
"the beautiful Elegy composed on him by his fellow- 
warrior, the venerable bard Llywarch Hen," 

At Llongborth was Geraint slain, 

A valiant warrior from the woodlands of Devon, 

Slaughtering his foes as he fell. 

* NIMUE. 

'57. A storm was coming, but the winds were still, 
And in the wild woods of Broceliande, 



* Where we have Vivien in '59 we have uniformly Nimue 
in '57. 

The MS. corrections given under Nimue are found in the 
South Kensington copy, not in the British Museum copy. 



90 IDYLLS OF THE KING. 

Before an oak so hollow huge and old 
It look'd a tower of ruin'd masonwork, 
At Merlin's feet the wileful Nimue lay. 

The wileful Nimue stole from Arthur's court/ 
She hated all the knights because she deem'd 
They wink'd and jested when her name was named. 
For once when Arthur, walking all alone 
* And troubled in his heart about the Queen, 
Had met her, she had spoken to the King 
With reverent eyes, mock-loyal shaken voice, 
And fluttered adoration, and at last 
Had hinted at the some who prized him more 
Than who should prize him most .• at which the King 
Had gazed upon her blankly and gone by ; 
'59. A storm was coming, but the winds were still, 
And in the wild woods of Broceliande, 
Before an oak, so hollow huge and old 
It look'd a tower of ruin'd masonwork, 
At Merlin's feet the wily Vivien lay. 

The wily Vivien stole from Arthur's court : 
She hated all the knights, and heard in thought 
Their lavish comment when her name was named. 
For once, when Arthur walking all alone, 
Vext at a rumour rife about the Queen, 
Had met her, Vivien, being greeted fair, 
Would fain have wrought upon his cloudy mood 
With reverent eyes mock-loyal, shaken voice, 
And flutter'd adoration, and at last 
With dark sweet hints of some who prized him more 
Than who should prize him most/ at which the King 
Had gazed upon her blankly and gone by .• 



* See the discussion in regard to the omission of this line. 



THE BEGINNINGS OF THE IDYLLS. 91 

74. A storm was coming, but the winds were still, 
And in the wild woods of Broceliande, 
Before an oak, so hollow, huge and old 
It look'd a tower of ruin'd masonwork, 
At Merlin's feet the wily Vivien lay. 

Whence came she ? One that bare in bitter grudge 
The scorn of Arthur and his Table, Mark 
The Cornish King, had heard a wandering voice, 
A minstrel of Caerleon by strong storm 
Blown into shelter at Tintagil, etc. 

(six pages here closing with the line) 
The wily Vivien stole from Arthur's court. 

She hated all the knights, and heard in thought 
Their lavish comment when her name was named. 
For once, when Arthur walking all alone, 
Vext at a rumour issued from herself 
Of some corruption crept among his knights, 
(then as in '59) (182, 3.) 

In '86 ruin'd masonwork becomes ivied mason- 
work, and the scorn of Mark becomes the slights of 
Mark. 

The visit of a harper to the court of Mark (de- 
scribed in the six pages added to " Vivien" in 74) 
may have been suggested by Malory (Book X., chap- 
ter xxvii.). Mark had received some letters brought 
by a " damosell." " Damosell," said king Marke, 
il will yee ride and beare letters from mee unto king 
Arthur?" "Sir," said shee, "I will bee at your 
commandement for to ride when yee will." Sir 
Tristram and Mark's wife, La beale Isoud, gave the 
" damosell" directions to come to them before start- 
ing for Arthur's court, " that wee may see the priv- 



92 IDYLLS OF THE KING. 

ity of your letters." Marke's suspicions were, per- 
haps, aroused, for on the morrow he said to the 
" damosell," " I am not advised at this time to send 
my letters." He, however, " prively" sent letters to 
queene Guenever, sir Launcelot, and king Arthur; 
" and the beginning of the kings letter spake won- 
drous short unto King Arthur." The letters to 
queene Guenever and sir Launcelot made them also 
"wroth out of measure." But sir Dinadan com- 
forted sir Launcelot with this " counsaile " : "I will 
make a lay for him, and when it is made, I shall 
make an harper to sing it before him." " And so by 
the will of sir Launcelot and of king Arthur, the 
harpers went straight unto Wales and Cornewaile, 
to sing the lay that sir Dinadan made by king 
Marke, which was the worst lay that ever harper sung 
with harpe or with any other instrument." (Malory is 
" vague and uncommunicative on the subject of the 
so-called lay. We know, however, from the story 
current in Wales and Ireland that the burden of it 
was nothing more or less than this : King Mark has 
horse's ears." — Professor Rhys, " Studies in the Ar- 
thurian Legend," p. 358.) 

One may premise that after the singing of this 
" lay," Marke, in Malory as in Tennyson, was 

half in heart to hurl his cup 
Straight at the speaker, 

for Malory says, " But for to say that king Marke 
was wondrous wroth, hee was." " ' I charge that 



TEE BEGINNINGS OF TEE IDYLLS. 93 

thou hie thee fast out of my sight' said he to the 
harper." 

'57. She play'd about with slight and sprightly talk ; 

And yielding to his kindlier moods, the Seer 
'59. She play'd about with slight and sprightly talk, 

And vivid smiles, and faintly-venom' d points 

Of slander, glancing here and grazing there; 

And yielding to his kindlier moods, the Seer (189, 10.) 

'57. Tolerant of what he half disdain'd, and she 
Began to break her sports with graver fits, 

'59. Tolerant of what he half disdain'd, and she, 
Perceiving that she was but half disdain'd, 
Began to break her sports with graver fits, (189, 17.) 

'57. Fixt in her will, and so the seasons went. 
Then fell upon him a great melancholy, 
And leaving Arthur's court he gained the beach ; 

'73. Fixt in her will, and so the seasons went. 
Then fell on Merlin a great melancholy ; 
He waWd with dreams and darkness, and he found 
A doom that ever poised itself to fall, 
An ever-moaning battle in the mist, 
World-war of dying flesh against the life, 
Death in all life and lying in all love, 
The meanest having power upon the highest, 
And the high purpose broken by the worm. 

So leaving Arthur's court he gain'd the beach ; 

(189, 27.) 

'57. I look' d, and when /saw you following still, 

'59. And when I look' d, and saw you following still, (194, 6.) 

'57. That I should prove it on you unawares, 

To make you lose your use and name and fame \ 



94 IDYLLS OF THE KING. 

That makes me too indignant. TTien our bond 

Had best be loosed for ever : 
'59. That I should prove it on your unawares, 

To make you lose your use and name and fame, 

That makes me most indignant; then our bond 

Had best be loosed for ever : 
'73. That I should prove it on you unawares, 

That makes me passing wrathful ; then our bond 

Had best be loosed for ever: (195, 21.) 

K. And then was painting on it fancied arms, 
An Eagle, noir in azure, volant, armed 
Gules; and a scroll beneath ' I follow fame.' 
MS. And then was painting on it fancied arms, 
A golden Eaglet on an azure field, 
Volant in bend ; the scroll ' I follow fame.' 
'59. And then was painting on it fancied arms, 
Azure, an Eagle rising or, the Sun 
In dexter chief; the scroll "I follow fame." (201, 5.) 

'57. Because I wish'd to give them greater minds : 

'73. Because I fain had given them greater wits: (201, 25.) 

K. Bight well know /that Fame is half-disfame, 
MS. Who knew right well that Fame is half-disfame, (202, 8.) 

Then the whole line as amended was crossed out 
and afterward marked stet. 

'57. a single misty star, 

That [ Which '59] is the second in a line of stars 
That seem a sword beneath a belt of three, 

K. (As sons of kings loving in pupillage 

Have turned to tyrants when they came to power) 

MS. (As royal children, sweet in pupillage, 

May turn to tyrants when they come to power) (202, 21.) 



THE BEGINNINGS OF THE IDYLLS. 95 

The lines were then crossed out and later marked 
stet and given in '59 as in '57. 

'57. And being found take heed of Nimue then. 
'59. And being found take heed of Vivien. (203, 6.) 

'57. Without the whole heart back may merit well 
'59. Without the, full heart back may merit well 

(203, 11.) 

'57. You cage a pretty captive here and there, 

'59. You cage a buxom captive here and there, (203, 19.) 

'57. The feet unsoldered from their ancle-bones 

'59. The feet unmortised from their an£le-bones (204, 4.) 

'57. The king impaled him for his piracy ; 

Then made her Queen : but those isle-nurtur'd eyes 
Made such unwilling tho' successful war 
On all the youth, they sicken'd ; (204, 21.) 

In the South Kensington Museum " Nimue" the first 
made is crossed out and crowrCd written instead, but 
in '59 the first made is retained and the second made 
changed to waged. 

'57. And beasts themselves did homage ; camels knelt 
Unbidden, and the beasts of mountain bulk 
That carry kings in castles, bow'd black knees 
Of homage, 

'59. And beasts themselves would worship ; camels knelt 
Unbidden, and the brutes of mountain bach 
That carry kings in castles, bow'd black knees 
Of homage, (205, 1.) 



96 IDYLLS OF THE KINO. 

'67. she had her pleasure in it. 

And lived there neither dame nor damsel then 
'59. she had her pleasure in it, 

And made her good man jealous with good cause. 
And lived there neither dame nor damsel then 

(206, A) 
'57. Well those were ancient days : but did they find 
A wizard? Tell me, was he like to thee? 
'No.' And she made her lithe arm round his neck 
'59. Well, those were not our days: but did they find 
A wizard? Tell me, was he like to thee? 
She ceased, and made her lithe arm round his neck 

(206, 12.) 
'57. Who thinks her new lord is the first of men. 
He answer'd laughing, ' Nay, not like to me. 
'59. On her new lord, her own, the first of men. 

He answer'd laughing, ' Nay, not like to me. 

(206, 17.) 
'57. ' The filthy swine/ what do they say of me? 
'59. ' What dare the full-fed liars say of me? (209, 16.) 

'57. Not one of them should touch me : filthy swine !' 
'59. Not one of all the drove should touch me : swine !' 

(209, 23.) 
'57. Some cause had kept him separate from his wife. 
'59. Some cause had kept him sunder'd from his wife .• 

(210, 14.) 
'57. And Merlin answer'd, ' Overquick are you 

To catch a filthy plume fall'n from the wing (211, 1.) 

In the South Kensington " Nimue', there is a MS. 
correction of filthy to loathsome. Then loathsome is 
changed to lothly, and in '73 to loathly. 



THE BEGINNINGS OF THE IDYLLS. 97 

'57. And wearied out crept to the couch and slept 
'59. And wearied out made for the couch and slept, 

(211, 11.) 
'57. that commerce with the Queen, 

I ask you, is it patent to the child, 
'59. that commerce with the Queen, 

I ask you, is it clamour' d by the child, (212, 20.) 

'57. Sir Lancelot went ambassador, at first, 

To fetch her, and she took him for the king; 
So fixt her fancy on him ; let him be. 

'73. Sir Lancelot went ambassador, at first, 

To fetch her, and she watch' d him from her walls. 

A rumour runs, she took him for the King, 

So fixt her fancy on him : let them be (212, 24.) 

'57. ' Him ? is he man at all, who knows and winks ? 
'73. l Man! is he man at all, who knows and winks? 

(213, 7.) 
'57. I think she cloaks the wounds of loss with lies ; 

I do believe she tempted them and fail'd, 

She is so bitter : 
'73. She cloaks the scar of some repulse with lies ; 

I well believe she tempted them and fail'd, 

Being so bitter: (214, 19.) 

'57. Then her false voice made way broken with sobs. 
' Cruel, the love that I have wasted on you / 
O cruel, there was nothing wild or strange, 
Or seeming shameful, for what shame in trust, 
So love be true, and not as yours is — nothing 
Poor Nimue had not done to pleasure him 
Who call'd her what he call'd her — all her crime, 
The master-wish to prove him wholly hers.' 
She mused a little, and then clapt her hands 
7 



98 IDYLLS OF THE KING. 

'59. Then her false voice made way broken with sobs. 
' crueller than was ever told in tale, 
Or sung in song ! vainly lavished love I 
O cruel, there was nothing wild or strange, 
Or seeming shameful, for what shame in love, 
So love be true, and not as yours is — nothing 
Poor Vivien had not done to win his trust 
Who call'd her what he call'd her — all her crime, 
All — all — the wish to prove him wholly hers.' 
She mused a little, and then clapt her hands 

(216, 6.) 
K. The master-wish to prove him wholly hers. 
MS. The wish to prove him wholly wholly hers. 
'57. The master-wish to prove him wholly hers. 
'59. All — all — the wish to prove him wholly hers. 

'57. 'Stabb'd through the best affections to the heart! 
'59. ' Stabb'd through the heart's affections to the heart ! 

(216, 17.) 

'57. She paused, she hung her head, she wept afresh / 
And the dark wood grew darker toward the storm 
In silence, and he looked, and in him died 
His anger, and he half believed her true, 
Pitied the heaving shoulder and the face, 
Hand-hidden, as for utmost grief or shame, 

'59. She paused, she turned away, she hung her head, 
The snake of gold slid from her hair, the braid 
Slipt and uncoil' d itself, she wept afresh, 
And the dark wood grew darker toward the storm 
In silence, while his anger slowly died 
Within him, till he let his wisdom go 
For ease of heart, and half believed her true.* 
Call'd her to shelter in the hollow oak, 
'Come from the storm' and having no reply, 



THE BEGINNINGS OF THE IDYLLS. 99 

Gazed at the heaving shoulder, and the face 
Hand-hidden, as for utmost grief or shame / 

(217, 11.) 
'67. The aeem'mg-guileless simple-hearted thing 
'69. The seem mg-injured simple-hearted thing (217, 26.) 

'57. Around her waist in pity, not in love, 

'59. About her, more in kindness than in love, (218, 5.) 

'57. I cannot grant you aught which your gross heart 
Would reckon worth acceptance. I will go. 
In truth, but one thing now could make me stay/ 
That proof of trust so often justly ask'd, 
How justly after that vile name of yours 

'59. What should be granted which your own gross heart 
Would reckon worth the taking ? I will go. 
In truth, but one thing now — better have died 
Thrice than have ask 'd it once — could make me stay — 
That proof of trust— so often ask'd in vain I 
How justly, after that vile term of yours, (218, 16.) 

'57. My fate or fault, omitting gayer youth 

'73. My fate or folly, passing gayer youth (218, 25.) 

'57. She scarce had ceased, when out of heaven a bolt 
'59. Scarce had she ceased, when out of heaven a bolt 

(209, 7.) 
'57. she call'd him lord and liege, 

Her seer, her sage, her silver star of eve, 
'59. she call'd him lord and liege, 

Her seer, her bard, her silver star of eve, (219, 26.) 



(A few minor variations are given in the Appendix.) 



100 IDYLLS OF THE KING. 

5. A Discussion of the Variations in the Text. 

A list of all the differences between the early 
copies of " Enid" and " Nimue" and the same poems 
as given in the latest edition of the " Idylls of the 
King" shows some hundreds of changes made. These 
are typographical, or verbal, or revisions of the mode 
of expression, or the omission of entire sentences 
and the addition of new thoughts. A discussion of 
these changes made by the poet in his work may 
easily resolve itself into an expression of personal 
preference, as, for example, " This change is an im- 
provement; that line was better in the original 
form," — a species of criticism which illustrates the 
differences in men's opinions,* whatever other value 
it may or may not have. An attempt to find the 
poet's plan in the changes which he has made has, 
perhaps, the least possible amount of this element 
of personal preference. 

* The following quotations illustrate the well-known line 
of Terence, " Quot homines, tot sentential" : 

" The story of ' Elaine' denuded of the noble language in 
which it has been clothed by Mr. Tennyson, would scarcely 
interest our readers." — Edinburgh Review, July, 1859. 

" Indeed it was hardly possible to add to the simplicity 
and pathos of the tale [' Elaine'] as it stands in the pages of 
Sir Thomas Malory." — Gladstone in the Quarterly Review, 
October, 1859. 

11 Such a conclusion (for we consider this fourth Idyll 
['Guinevere'] mainly in the light of the completion of what 
has gone before, hardly as a separate poem) goes far to make 
us forget and forgive the insult which we conceive ' Enid' to 



THE BEGINNINGS OF THE IDYLLS. 101 

Of the later forms of expression adopted by the 
poet, some were chosen, apparently, because they 
express the thought with greater accuracy. Others 
amplify the thought for the sake of clearness, or add 
to the beauty of a scene. Lines are omitted which 
make the impression of the whole less pleasing. 
Other revisions perfect the rhj^thm. Many changes, 
seemingly insignificant as to the difference in thought, 
are those refinements of expression which give that 
subtle charm of artistic excellence universally as- 
cribed to him who ranks "the first of English poets 
in making the art of expression a luxury and an 
ornament." * 

Tennyson is distinguished for the accuracy of his 
references to Nature in particular, and for the 
accuracy of his thought and words in general. The 
revised form manifestly expresses in many cases the 
poet's thought more exactly. The line (p. 70), 

and when Geraint 
Beheld her there before him in the field, 

offer to our understanding. . . . We have here [in 'Guine- 
vere'] a noble idea beautifully worked out." — Blackwood's 
Magazine, November, 1859. 

"Finished the four Idylls. The first ['Enid'] and third 
[' Elaine'] could have come only from a great poet. The 
second ['Vivien'] and fourth ['Guinevere'] do not seem to 
me so good." — Note in Longfellow's diary, July 20th, 1859, 
as quoted by Van Dyke, " The Poetry of Tennyson," p. 330. 

" For ' Guinevere' is of an almost indescribable grandeur." 
— Gladstone, Quarterly Review, October, 1859. 

* Edinburgh Review, October, 1881. 



102 IDYLLS OF THE KING. 

is ambiguous. The expression " before him" may be 
taken as an adverbial element either of place or of 
time. The line as given in '59 is free from this obscu- 
rity. The " gorgeous gown," the " costly-braided" 
gift, which Enid laid from her limbs in '57, was prob- 
ably not a " braided" gown at all, but a " costly- 
broider'd" gown, as it is more accurately described in 
'59. The change of unsolder'd to unmortised (p. 95), 

The feet unsolder'd from their ancle-bones, 

is a distinct gain in accuracy. The feet are not 
" solder'd" to the ankle-bones. The oak before which 
the " wileful Nimue" lay at Merlin's feet, so hollow 
huge and old that it look'd a tower of ruirid mason- 
work, is certainly more accurately described as re- 
sembling a tower of ivied mason work. And yet not 
until the '86 edition was this change made. In the 
'57 copy Merlin explains to Nirnue that Sir Sagra- 
more, whose torch had been puffed out by an angry 
gust of wind, became bewildered " among the many- 
room'd and many-corridor'd complexities of Arthur's 
palace," and, finding a door he thought his own, 

crept to the couch and slept 
A stainless man beside a stainless maid. 

But in '59 Sir Sagramore made for the couch and 
slept, a more accurate and certainly a happier ex- 
pression in that it does not give the impression of 
stealthiness produced by the " crept to the couch" of 
the '57 copy. 

Many of the changes made were doubtless made 
to improve the metre, as, for example (p. 84), 



THE BEGINNINGS OF THE IDYLLS. 103 

K. And if he be dead, I count you for a fool, 
'57. And be he dead, I count you for a fool, 

Of these revisions which perfect the rhyme two are 
of interest because — though so apparent and so 
easily made — the} T were in fact not made until the 
later editions of the poem. The line (p. 71), 

For I these two years past have won it for thee, 

is the same in '57, '59, '62, '69, '73, '75, '84. Not till 
the '86 edition do we find, 

What I these two years past have won for thee. 

The omission of the unnecessary it in the following 
line (p. 81), was made in the '73 edition, 

And, Enid, you and he, I see it with joy — 

Some changes we may assume to have been made 
for the sake of felicities of expression, as, for ex- 
ample, Geraint's promise to his new mother to come 
once more with Enid " some golden day," a manu- 
script correction unfortunately, perhaps, not pre- 
ferred to the " some gaudy-day" of '59 ; or Edyrn's 
statement to Geraint that at Arthur's court he was 
waiting to be treated like a wolf, " because they 
knew my doings" (K.), " because I know they knew 
my deeds" ('57), " because I knew my deeds were 
known" ('59) ; or the reply of Geraint to Edyrn's 
announcement that he has come to summon the 
bandit Earl to submit to the judgment of the king. 
Geraint replies, 



104 IDYLLS OF THE KING. 

K. ' Doorm is disbanded by the King of Fears, 
And suffers judgment from the King of Kings.' 
'57. ' He hath submitted to the King of Kings.' 
'59. ' He hears the judgment of the King of Kings.' 

One need but read the three forms in succession to 
approve the change, the lines preceding being in K. 
and '57, 

bidding him . . scatter all his powers, 
Submitting to the judgment of the King.' 

and in '59, 

bidding him . . scatter all his powers, 
Submit, and hear the judgment of the King.' 

Inasmuch as in '59 the two lines are so much alike, 
the point of difference is thereby emphasized, and 
the revised form is doubtless the happier expression. 
We may say the same of Vivien's wailing shriek 
(p. 98), 

'57. ' Stabb'd through the best affections to the heart !' 
'59. 'Stabb'd through the heart's affections to the heart!' 

and also of her reply to Merlin, who asks if she has 
no word of loyal praise " For Arthur, blameless king 
and stainless man," 

'57. Him ? is he man at all, who knows and winks ? 
'59. Man ! is he man at all, who knows and winks ? 

Other changes are more than verbal felicities. 
The new word or the new expression calls up a dif- 
ferent picture to the mind's eye. In '57 (p. 75) 
Geraint doubted whether Enid's acceptance of his 



THE BEGINNINGS OF THE IDYLLS. 105 

love might not be due to " filial softness" in her, a 
less happy expression than the " filial tenderness" 
of '59, or the " daughter's tenderness" of '73. So 
also in '57 (p. 72) Enid expressed a determination 
to work her fingers "to the bone" in the making of 
a new gown, certainly a less poetic as well as less 
accurate expression than that of '59, wherein she 
says, "myself would work eye dim and finger lame" 
far liefer than so much discredit him. Enid work- 
ing her fingers "to the bone" in the making of one 
new gown (and doing this too in " a day or two") is 
not the poet's happiest conception. 

Not only in what the poet changes or adds, but 
also in what he omits, does he give new beauty to 
successive editions of the poem. One of Geraint's 
most unkindest cuts of all in '57 is omitted in '59, 
the line (p. 83), 

Wellnigh as honest as a weeping wife. 

Another omission in the completed " Idylls of the 
King" is the '57 line (p. 90), 

And troubled in his heart about the Queen. 

The omission of this line in the completed " Idylls 
of the King" is exceedingly significant in connection 
with the question as to the growth of the plan of 
the poem in the poet's mind. This line makes 
Arthur suspect Guinevere long before the final dis- 
closures and the consequent disruption of the Order 
of the Table Round. In the poem as we now have 
it, the King is not "troubled in heart" about the 



106 IDYLLS OF THE KING. 

Queen at all, but merely " vext" at a rumour issued 
from Yivien in regard to " some corruption crept 
among his knights." In the '59 "Elaine," which 
comes after " Yivien," Guinevere " broke into a 
scornful laugh," 

He never had a glimpse of mine untruth, 

" only to-day there gleamed a vague suspicion in his 
eyes." As yet, however, nothing but a " vague sus- 
picion," a momentary passing cloud of mistrust ; for 
long after this '"the clear face of the guileless 
King" became her bane. And he in his " white 
blamelessness," whom Guinevere called in her agony 
of contrition God's "highest creature here," could 
as he was passing to death speak of the pang but 
lately come to him, 

Too wholly true to dream untruth in thee. 

We may be certain that when Tennyson wrote 
" Enid and Nimue" he had not yet planned the out- 
line of the poem in detail. It was impossible that 
this line should remain in the completed " Idylls of 
the King." For then must the final disclosures have 
come apace, or else had the " blameless King" been 
worthy of Vivien's taunt of being one " who sees 
and winks." This '57 line retained in "Yivien" 
would have been fatal to the further development 
of the "Idylls of the King" through the "Holy 
Grail," " Pelleas and Ettarre," and " The Last Tour- 
nament," which were inserted after "Yivien," be- 
tween " Elaine" and " Guinevere." The King, not- 



THE BEGINNINGS OF THE IDYLLS. 107 

withstanding his " white Mamelessness," could not 
be " troubled in heart about the Queen" at this stage 
in the course of events without hastening the dis- 
closures, — he who said when the pang of knowledge 
finally came, 

Yet must I leave thee, woman, to thy shame. 
I hold that man the worst of public foes 
Who either for his own or children's sake, 
To save his blood from scandal, lets the wife 
Whom he knows false, abide and rule the house ; 

Worst of the worse were that man he who reigns ! 

The existence of this line in the '57 copy is, then, 
a fact of great moment in establishing the growth 
in the poet's mind of the plan of the poem as a 
whole. A corroboration of this view from a linguis- 
tic stand-point will be given in connection with a 
discussion of some changes made in the earlier 
" Idylls of the King" to weld all into a harmonious 
whole. 

Lord Tennyson doubtless had in mind from the 
outset some general plan of the course of events in 
the poem, for at the beginning of " Enid" he makes 
Guinevere miss the hunt because she 

lay late into the morn, 
Lost in sweet dreams, and dreaming of her love 
For Launcelot. 

And yet Lancelot is not once mentioned in the 
story of Geraint in the " Mabinogion," the source from 
which Lord Tennyson drew his material. The poet 



108 IDYLLS OF THE KING. 

introduces, therefore, at the outset the suggestion 
of the sin about which he groups the events of the 
whole poem. But the line in the '57 " Nimue," 

And troubled in his heart about the Queen, 

precludes the possibility of a plan already in the 
poet's mind of a "blameless king," who could say 
to Guinevere in " Guinevere," coming after " Lance- 
lot and Elaine," "The Holy Grail," " Pelleas and 
Ettarre," and " The Last Tournament," that he had 
been 

Too wholly true to dream untruth in thee. 

In '59 he was 

Vext at a rumour rife about the Queen. 

In '69, in the volume which included the first four 
Idylls and also "The Holy Grail," "Pelleas and 
Ettarre," and " The Passing of Arthur," all coming 
after " Vivien" in the order of events, the line was 
printed as in '59. But, as may be seen from the 
list of variations, Lord Tennyson made in '69 few 
changes in the text of the poems of the first series 
of the " Idylls of the King." Indeed, aside from 
changes in the pronouns from the ordinary to the 
archaic form, from you to ye, and in the verbs from 
has to hath, and a few changes in punctuation pre- 
sumably made by the compositor, there was not a 
single change made in the text of " Vivien" in '69. 
The new poems were simply inserted in accordance 
with the requirements of the order of events, with- 
out any careful study of their harmony with the 



THE BEGINNINGS OF THE IDYLLS. 109 

poems of the first series. In '73, after the publica- 
tion of "The Last Tournament" (1871) and " Gareth 
and Lynette" (1872), when, with the exception of 
"Balin and Balan" (1885), the "Idylls of the King" 
was complete, Lord Tennyson, now occupied with 
the poem as a whole, and not with the composition 
of the separate parts, observed the inconsistency in 
this line and substituted in place thereof a line 
which made Arthur, neither " troubled in his heart 
about the Queen," nor "vext at a rumour rife about 
the Queen," but merely " vext" at a rumour issued 
from Yivien 

Of some corruption crept among his knights. 

And yet the author of the latest commentary * on 
the " Idylls of the King" in his discussion of the 
"Time occupied by the Idylls" places this Idyll of 
"Merlin and Vivien" as far as possible toward the 
close. " If the suggested placing of the Idylls is 
correct, the sin of Lancelot and Guinevere comes 
much later than at first we are apt to suppose ; this 
removes some repulsiveness from their guilt and 
averts from Arthur the charge of obtuse credulity." If 
even after the omission of this line, " And troubled 
in his heart about the Queen," the faultless King, 
that passionate perfection, 

Eapt in this fancy of his Table Round, 

still needs a defence against the charge of " obtuse 

* Maccallum, " Tennyson's Idylls of the King and Ar- 
thurian Story," p. 427. Macmillan & Co., New York, 1894. 



110 IDYLLS OF THE KING. 

credulity," how hopeless his case would have been, 
had the line been retained. 

In this connection it may be of interest to note 
the contention* of Kuno Fischer that the plan 
and the fundamental idea of Goethe's " Faust" were 
changed during the sixty years of its composition ; 
and not only so, but that the two different funda- 
mental ideas were never harmonized into artistic 
unity, but remain in the poem to this day, — the 
unity of the poem, which mirrors the inner life 
of Goethe himself, lying in the character and the 
growth of the poet, and being, therefore, more vital, 
original, and comprehensive than any fabricated, 
a priori plan. 

In the '74 edition several consecutive pages were 
added to " Vivien," viz., from the middle of page 182 
to the middle of page 188. These pages describe 
"Vivien's relations to the graceless Mark, her entry 
into Arthur's court, her sowing of one ill hint from 
ear to ear, and her " attempt" upon " the blameless 
King." In the '57 copy we find (p. 90), 

At Merlin's feet the wileful Nimue lay. 

The wileful Nimue stole from Arthur's court : 
She hated all the knights because she deem'd 
They wink'd and jested when her name was named. 

The '59 edition is like the '57 copy except that wile- 
ful is changed to wily and Nimue to Vivien. Not till 
the '74 edition do we have the six pages referred to 

* Kuno Fischer, " Goethes Faust, Entstehung, Idee, und 
Composition," vol. ii. pp. 137-260. Stuttgart, 1893. 



THE BEGINNINGS OF THE IDYLLS. Ill 

above inserted between the first and the second 
lines of the '57 copy quoted above. The first and 
second lines of the new matter in the '74 edition 
have since been changed. In '74 they read, 

Whence came she? One that bare in bitter grudge 
The scorn of Arthur and his Table, Mark 

They now read, 

For he that always bare in bitter grudge 
The slights of Arthur and his Table, Mark 

A part of this '74 addition to " Vivien" is the min- 
strel's song, 

That out of naked knightlike purity 

Sir Lancelot worshipt no unmarried girl 

But the great Queen herself, fought in her name, 

Sware by her — vows like theirs, that high in heaven 

Love most, but neither marry, nor are given 

In marriage, angels of our Lord's report. 

And inasmuch as this fair example was truly fol- 
lowed by some " so passionate for an utter purity 
beyond the limit of their bond," " brave hearts and 
clean !" this picture of the ideal of the Order of the 
Table Bound is in effective contrast with " the max- 
ims of the mud" of Mark's court. 

Seven lines describing Merlin's great melancholy 
(p. 93) were given first in the '73 edition. These 
lines we should miss greatly from the poem. In 
them we have a hint of the course of events, of the 
war between the flesh and the life, of the meanest 
having power upon the highest, of the doom about 



112 IDYLLS OF THE KING. 

to fall, and the high purpose of Arthur in the found- 
ing of the Table Bound to serve a model for the 
mighty world, to break the heathen and uphold the 
Christ and be the fair beginning of a time, — all 
broken * by the worm of lust. 

These lines, resembling those lines in Shakespeare 
which foreshadow the final catastrophe, inevitable 
as fate, " What's done, cannot be undone," were 
added in '73, by which time the " Idylls of the 
King" was mainly completed. They are an excel- 
lent example of the invaluable additions made in 
successive editions of this great poem, through 
which, because of its legendary origin, speaks the 
voice of the race, a poem worthy of philosophical 
and philological study because of its content and its 
grow T th. 

* Dr. Albert Hamann, Oberlehrer an der Luisenschule, 
Berlin, Honorary M.A. Oxford, compares the close of the 
" Idylls of the King" to the Fall of Walhalla in Wagner's 
" Gotterdammerung." To the poet's Cambridge friend, the 
Dean of Canterbury, the closing impression does not seem so 
hopeless. "Thus we have seen the arising and crowning of 
man's higher soul, and the brightness of its opening reign: 
then gather round it the storms of passion, of lust, of vain 
superstition, ever thickening and blasting all fair prospect ; 
until, baffled and discomfited in its earthly hopes, it sinks in 
the mist of death, but at eventide there is light, and the end 
is glory." 



CHAPTEE III. 

THE COMPLETED IDYLLS OP THE KING. 

1. The " Idylls of the King" as an Organic Unity. 

The topic has been largely discussed whether the 
" Idylls of the King" is in reality a single poem, an 
organic unity, or whether it is a series of twelve 
separate but connected poems which are a succes- 
sion of panel pictures rather than one magnificent 
painting. This discussion was doubtless furthered 
by the fragmentary mode of composition and pub- 
lication of the poem. 

It is true that in the introductory dialogue of the 
" Morte d' Arthur" of 1842 we have the term epic 
applied to the hypothetical poem, which had been 
cast into the fire, — 

' You know,' said Frank, ' he burnt 
His epic, his King Arthur, some twelve books/ — 

but the poet gave no hint in the "Idylls of the 
King" of 1859 that the four poems then given were 
intended as parts of a whole. Indeed, the perhaps 
unduly modest title Idylls seemed to preclude such 
a view. Yet there were those who appreciated the 
possibilities of the subject and who looked for a 
continuation of the Idylls. It was with the pros- 

8 113 



114 IDYLLS OF THE KING. 

pect of an Arthurian epic in mind that Gladstone 
wrote in 1859, in his review of this first series of the 
" Idylls of the King," " We have a cheerful hope 
that, if he continues to advance upon himself as he 
has advanced heretofore, nay, if he can keep the 
level he has gained, such a work will be the great- 
est, and by far the greatest poetical creation, that, 
whether in our own or in foreign poetry, the nine- 
teenth century has produced." 

After the publication of " The Holy Grail and 
other Poems" in 1869, the design of the poet was 
evident, and critics now began to emphasize the 
plan of the whole in the discussion of the separate 
poems, and the necessity for the less agreeable mem- 
bers of the series. " The ' Idylls of the King,' " said 
E. H. Hutton, " has a grander aim and a larger 
scope"* than any of Tennyson's previous work. 
The Edinburgh Review (April, 1870) now held, not 
only that the poem is a whole, but that it is a 
drama, somewhat unusual in form, but of the high- 
est order, " the great drama which he has told in 
his own individual fashion, but which is not less a 
tragedy than "Hamlet" or "Lear," with one great 
leading interest and plan of action. . . . The more 
it is studied the more manifest it will be that every 
part of it has been composed with careful refer- 
ence to the leading conception, and that those in- 
dividual portions which throw but broken lights, 
when taken by themselves, become full of force 

* Macmillan's Magazine, London, December, 1872. 



THE COMPLETED IDYLLS OF THE KING. 115 

and significance when considered in their relation 
to the rest. Nothing more grand or perfect exists 
in modern poetry than the plan of this tragedy." 

But, however grand or perfect the plan of the 
poem may now be, a study of the changes made in 
subsequent additions to those members published in 
1859 reveals an important modification, or at least 
an enlargement of the original plan. Therefore a 
list of these changes is hereby given. A small pro- 
portion of these changes was required by this growth 
in the plan of the poem. Many are seemingly of 
slight consequence. Yet, inasmuch as Lord Tenny- 
son esteemed the revised form an improvement 
sufficient to justify the change, the list is made com- 
plete. Most of the changes were made in the '73 
or '74 editions. 

2. A List of Variations between the First Editions 
and the Last Edition of the "Idylls of the 
King." 

DEDICATION. 

'62. And indeed He seems to me 

Scarce other than my own ideal knight, 
'94. And indeed He seems to me 

Scarce other than my king's ideal knight, (1, 7.) 

'62. The shadow of His loss moved like eclipse, 

'94. The shadow of His loss drew like eclipse, (1, 14.) 

THE COMING OF ARTHUR. 

'69. Eience, assail'd him : last a heathen horde, 

'94. Urien, assail'd him: last a heathen horde, (5, 17.) 



116 IDYLLS OF THE KING. 

'69. His tents beside the forest : and he drave 

The heathen, and he slew the beast, and fell'd 
The forest, and let in the sun, 

'94. His tents beside the forest. Then he drave 
The heathen / after, slew the beast, and fell'd 
The forest, letting in the sun, (6, 13.) 

'69. Flash'd forth and into war: for most of these 

Made head against him, 
'94. Flash'd forth and into war : for most of these, 

Colleaguing with a score of petty kings, 

Made head against him, (13, 21.) 

'69. And power on this dead world to make it live." 
And Arthur from the field of battle sent 
Ulfius, and Brastias, and Bedivere, 

'94. And power on this dead world to make it live.' 
Thereafter — as he speaks who tells the tale — 
When Arthur reach' d a field-of -battle bright 
With pitch' d pavilions of his foe, the world 
Was all so clear about him, that he saw 
The smallest rock far on the faintest hill, 
And even in high day the morning star. 
So when the King had set his banner broad, 
At once from either side, with trumpet-blast, 
And shouts, and clarions shrilling unto blood, 
The long- lanced battle let their horses run. 
And now the Barons and the kings prevail' d, 
And now the King, as here and there that war 
Went swaying ; but the Powers who walk the world 
Made lightnings and great thunders over him, 
And dazed all eyes, till Arthur by main might, 
And mightier of his hands with every blow, 
And leading all his knighthood threw the kings 
Carddos, Urien, Cradlemont of Wales, 



THE COMPLETED IDYLLS OF THE KING. 117 

Claudias, and Clariance of Northumberland, 

The King Brandagoras of Latangor, 

With Anguisant of Erin, Morganore, 
And Lot of Orkney. Then, before a voice 
As dreadful as the shout of one who sees 

To one who sins, and deems himself alone 

And all the world asleep, they swerved and brake 

Flying, and Arthur calVd to stay the brands 

That hack'd among the flyers, 'Mo ! they yield V 
So like a painted battle the war stood 
Silenced, the living quiet as the dead, 
And in the heart of Arthur joy was lord. 
He laugh' d upon his warrior whom he loved 
And honor' d most. * Thou dost not doubt me King, 
/So well thine arm hath wrought for me to-day.' 
' Sir and my liege, 7 he cried, ' the fire of God 
Descends upon thee in the battle-field : 
I know thee for my King /' Whereat the two, 
For each had warded either in the fight, 
Sware on the field of death a deathless love. 
And Arthur said, ' Man's word is God in man : 
Let chance what will, I trust thee to the death.' 
Then quickly from the foughten field he sent 
Ulfius, and Brastias, and Bedivere, (7, 23.) 

'69. " A doubtful throne is ice on summer seas — 

Ye come from Arthur's court : think ye this king — 
So few his knights, however brave they be — 
Hath body enow to beat his foemen down ?" 

'94. ' A doubtful throne is ice on summer seas. 
Ye come from Arthur's court. Victor his men 
Report him ! Yea, but ye — think ye this king — 
So many those that hate him, an d so strong, 
So few his knights, however brave they be — 
Hath body enow to hold his foemen down?" (13, 24. 



118 IDYLLS OF THE KINO. 

'69. ' Take me,' but turn the blade and you shall see, 

'94. " Take me," but turn the blade and ye shall see, (16, 4.) 

'69. As nothing, and the king stood out in heaven, 

'94. As nothing, but the King stood out in heaven, (21, 18.) 

'69. Stood round him, and rejoicing in his joy. 
And holy Dubric spread his hands and spake, 

'94. Stood round him, and rejoicing in his joy. 
Far shone the fields of May thro 1 open door, 
The sacred altar blossomed white with May, 
The Sun of May descended on their King, 
They gazed on all earth's beauty in their Queen, 
RolVd incense, and there past along the hymns 
A voice as of the waters, while the two 
Sware at the shrine of Christ a deathless love : 
And Arthur said, ' Behold, thy doom is mine. 
Let chance what will, I love thee to the death /' 
To whom the Queen replied with drooping eyes, 
1 King and my lord, I love thee to the death /' 
And holy Dubric spread his hands and spake, (22, 9.) 

'69. Fulfil the boundless purpose of their king." 

Then at the marriage feast came in from Home, 
The slowly-fading mistress of the world, 
Great lords, who claim'd the tribute as of yore. 
'94. Fulfil the boundless purpose of their King !' 
So Dubric said ; but when they left the shrine 
Great Lords from Rome before the portal stood, 
In scornful stillness gazing as they past; 
Then while they paced a city all on fire 
With sun and cloth of gold, the trumpets blew, 
And Arthur's knighthood sang before the King : — 

' Blow trumpet, for the world is white with May ; 
Blow trumpet, the long night hath rolVd away ! 



THE COMPLETED IDYLLS OF THE KING. 119 

Blow thro' the living world — " Let the Xing reign." 

' Shall Borne or Heathen rule in Arthur's realm ? 
Flash brand and lance, fall battleaxe upon helm, 
Fall battleaxe, and flash brand ! Let the King reign. 

1 Strike for the King and live ! his knights have heard 
That God hath told the King a secret word. 
Fall battleaxe, and flash brand I Let the King reign. 

1 Blow trumpet ! he will lift us from the dust. 
Blow trumpet ! live the strength and die the lust ! 
Clang battleaxe, and clash brand ! Let the King reign. 

1 Strike for the King and die ! and if thou diest, 
The King is King, and ever wills the highest. 
Clang battleaxe, and clash brand / Let the King reign. 

1 Blow, for our Sun is mighty in his May ! 
Blow, for our Sun is mightier day by day ! 
Clang battleaxe, and clash brand ! Let the King reign. 

1 The King will follow Christ, and we the King 
In whom high God hath breathed a secret thing. 
Fall battleaxe, and flash brand / Let the King reign.' 

So sang the knighthood, moving to their hall. 
There at the banquet those great Lords from Borne, 
The slowly-fading mistress of the world, 
Strode in, and claim'd their tribute as of yore. (22, 26.) 

'69. But Arthur spake, " Behold, for these have sworn 
To fight my wars, and worship me their king ; 

'94. But Arthur spake, ' Behold, for these have sworn 

To wage my wars, and worship me their King ; (24, 11.) 

GARETH AND LYNETTE. 

'72. ' Lord, we have heard from our wise men at home 
'94. Lord, we have heard from our wise man at home 

(33, 15.) 
72. But an thou wilt no goodlier, then must Kay, 
'94. But so thou wilt no goodlier, then must Kay, (43, 21.) 



120 IDYLLS OF THE KING. 

'72. Then while he donn'd the helm, and took the shield 
'94. Then as he donn'd the helm, and took the shield 

(53, 19.) 
'72. The people, and from out of kitchen came 
'94. The people, while from out of kitchen came (53, 23.) 

'72. l Kay, wherefore will ye go against the King, 
'94. ' Kay, wherefore wilt thou go against the King, 

(55, 5.) 
'72. But will ye yield this damsel harbourage V 
'94. But wilt thou yield this damsel harbourage?' (59, 16.) 

'72. Ye be of Arthur's Table/ a light laugh 

'94. You * be of Arthur's Table,' a light laugh (59, 18.) 

'72. ' Friend, whether ye be kitchen-knave, or not, 
'94. ' Friend, whether thou be kitchen-knave, or not, 

(61, 6.) 
'72. The champion ye have brought from Arthur's hall, 
'94. The champion thou hast brought from Arthur's hall ? 

(63, 1.) 
'72. And he that bore 

The star, being mounted, cried from o'er the bridge, 
'94. And he that bore 

The star, when mounted, cried from o'er the bridge, 

(64, 12.) 
'72. ' Fair damsel, ye should worship me the more, 
'94. ' Fair damsel, you should worship me the more, 

(67, 8.) 
'72. ' Damsel,' he said, ' ye be not all to blame, 
Saving that ye mistrusted our good King 
Would handle scorn, or yield thee, asking, one 

* Notwithstanding somewhat more than two hundred 
changes from you to ye, have to hast, etc., we have in " Gareth 
and Lynette" and in " The Last Tournament" some changes 
from ye to you. 



THE COMPLETED IDYLLS OF THE KINO. 121 

Not fit to cope thy quest. Ye said your say ; 
'94. ' Damsel,' he said, ' you be not all to blame, 
Saving that you mistrusted our good King 
Would handle scorn, or yield you, asking, one 
Not fit to cope your quest. You said your say ; 

(73, 16.) 
'72. To the King's best wish. O damsel, be ye wise 
'94. To the King's best wish. O damsel, be you wise 

(77, 6.) 
'72. Said Lancelot, ' Peradventure he, ye name, 
'94. Said Lancelot, 'Peradventure he, you name, (78, 22.) 

'72. Ye cannot scare me ; nor rough face, or voice, 
'94. You cannot scare me ; nor rough face, or voice, 

(80, 6.) 
'72. At once Sir Lancelot's charger fiercely neigh'd — 

At once the black horse bounded forward with him. 
'94. At once Sir Lancelot's charger fiercely neigh'd, 

And Death's dark war-horse bounded forward with 
him. (83, 4.) 

(The variations in the text of " The Marriage of 
Geraint" and " Geraint and Enid" are given in 
chapter ii.) 

BALIN AND BALAN. 

'85. A goblet on the board by Balin, boss'd 
With holy Joseph's legend, on his right 
Stood, all of massiest bronze : one side had sea 
And ship and sail and angels blowing on it : 
And one was rough with pole and scaffoldage 
Of that low church he built at Glastonbury. 

The last two lines in '94 are, 

And one was rough with wattling, and the walls 

Of that low church he built at Glastonbury. (171, 19.) 



122 IDYLLS OF THE KINO. 

(The variations in the text of " Merlin and Vivien" 
are given in chapter ii.) 

LANCELOT AND ELAINE.* 

'59. For Arthur when none knew from whence he came, 
Long ere the people chose him for their king, 
Roving the trackless realms of Lyonnesse, 

'94. For Arthur, long before they crown'd him K'mg, 
Roving the trackless realms of Lyonnesse, (222, 15.) 

'59. And one of these, the king, had on a crown 

'94. And he, that once was king, had on a crown (223, 1.) 

'59. Thither he made and wound the gateway horn. 

'94. Thither he made, and blew the gateway horn. (227, 25.) 

'59. And in the four wild battles by the shore 

'94. And in the four loud battles by the shore (232, 18.) 

'59. Paused in the gateway, standing by the shield 
'94. Paused by the gateway, standing near the shield 

(236, 18.) 
'59. l How then ? who then ?' a fury seized on them, 
'94. ' How then ? who then ?' a fury seized them all, 

(239, 22.) 
'59. Back to the barrier ; then the heralds blew 
'94. Back to the barrier; then the trumpets blew (240, 21.) 

* In " Lancelot and Elaine" there have been some forty- 
one changes from you to ye, has to hath, etc. These are, — page 
and line of the Macmillan edition,— (224, 12, 13, 15) ; (225, 5, 
10, 11, 12) ; (226, 16) ; (227, 11) ; (228, 22) ; (229, 4, 5) ; (230, 3, 
8, 9) ; (240, 25) ; (242, 20) ; (243, 12, 23) ; (244, 12, 12) ; (245, 2) ; 
(247, 23, 24) ; (249, 8, 9) ; (250, 22) ; (251, 9, 12) ; (256, 24) ; 
(261, 19, 21, 22) ; (262, 1, 18, 20) ; (264, 18) ; (272, 13) ; (273, 5) ; 
275, 23). 



THE COMPLETED IDYLLS OF THE KING. 123 

'59. Draw' — and Lavaine drew, and that other gave 

A marvellous great shriek and ghastly groan, 
'94. Draw/ — and Lavaine drew, and Sir Lancelot gave 

A marvellous great shriek and ghastly groan, 

(241, 12.) 
'59. He must not pass uncared for. Gawain, rise, 

My nephew, and ride forth and find the knight. 
'94. He must not pass uncared for. Wherefore, rise, 

Gawain, and ride forth and And the knight. (242, 8.) 

'59. Wherefore take 

This diamond, and deliver it, and rett<: n, 
And bring us what he is and how he fares, 

'94. Rise and take, 

This diamond, and deliver it, and return. 

And bring us where he is, and how he fares, (247, 17.) 

'59. And Lamorack, a good knight, but therewithal 

Sir Modred's brother, of a crafty house, 
'94. And Gareth, a good knight, but therewithal 

Sir Modred's brother, and the child of Lot, (243, 4.) 

'59. Ill news, my Queen, for all who love him, these ! 
'94. Ill news, my Queen, for all who love him, flu? .' — 

(244, 18.) 
'59. Moved to her chamber, and there flung hei -elf 
'94. Past to her chamber, and thcs flung herself (245, 4.) 

'59. The victor, but had ridden wildly round 

'94. The victor, but had ridd'n a random round (245, 25.) 

'59. And ride no longer wildly, noble Prince ! 

'94. And ride no more at random, noble Prince! (246, 3.) 

'59. Who lost the hern we slipt him at, and went 

'94. Who lost the hern we slipt her at, and went (247, 1.) 



124 IDYLLS OF THE KINO. 

'59. Methinhs there is none other I can love.' 

'94. I know there is none other I can love.' (247, 21.) 

'59. May it be so ? why then, far be it from me 

'94. Nay — like enow : why then, far be it from me (248, 4.) 

'59. Marr'd her friend's point with pale tranquillity. 

'94. Marr'd her friend's aim with pale tranquillity. ( 249, 25.) 

'59. And when they gain'd the cell in which he slept, 
'94. And when they gain'd the cell wherein he slept, 

(252, 26.) 
'59. And past beneath the wildly- sculptured gates 
'94. And past beneath the wierdly-scu\-ptured gates (254, 5.) 

'59. Full often the sweet image of one face, 

'94. Full often the bright image of one face, (255, 16.) 

'59. Seeing I must go to-day :' then out she brake ; 
'94. Seeing I go to-day:' then out she brake: (257, 8.) 

'59. To which the gentle sister made reply, 

'94. To whom the gentle sister made reply, (263, 4.) 

'59. Steered by the dumb went upward with the flood — 
'94. Oar'd by the dumb, went upward with the flood — 

(266, 10.) 
'59. The shadow of a piece of pointed lace, 
'94. The shadow of some piece of pointed lace, (267, 4.) 

'59. Then while Sir Lancelot leant, in half disgust 

'94. Then while Sir Lancelot leant, in half disdain (269, 16.) 

'59. But Arthur who beheld his cloudy brows 

Approach'd him, and with full affection flung 
One arm about his neck, and spake and said. 

' Lancelot, my Lancelot, thou in whom I have 
Most love and most affiance, 



TEE COMPLETED IDYLLS OF THE KINO. 125 

'94. But Arthur, who beheld his cloudy brows, 
Approach'd him, and with full affection said, 

1 Lancelot, my Lancelot, thou in whom I have 
Most joy and most affiance, (274, 8.) 

'59. but now I would to God, 

For the wild people say wild things of thee, 
Thou could'st have loved this maiden, 

'94. but now I would to God, 

Seeing the homeless trouble in thine eyes, 
Thou couldst have loved this maiden, (274, 17.) 

'59. Lancelot, whom the Lady of the lake 
Stole from his mother — as the story runs — 
She chanted snatches of mysterious song 

'94. Lancelot, whom the Lady of the Zake 

Caught from his mother's arms — the wondrous one 

Who passes thro' the vision of the night — 

She chanted snatches of mysterious hymns (276, 9.) 

THE HOLY GRAIL. 

'69. then, perchance, when all our wars are done, 
The brand Excalibur will be cast away. 

'94. O there, perchance, when all our wars are done, 
The brand Excalibur will be cast away. (288, 14.) 

'69. But you, that follow but the leader's bell,' 

'94. But ye, that follow but the leader's bell" (290, 11.) 

'69. The chance of noble deeds will come and go 
Unchallenged, while you follow wandering fires 

'94. This chance of noble deeds will come and go 

Unchallenged, while ye follow wandering fires (291, 7.) 

'69. Before you leave him for this guest, may count 

'94. Before ye leave him for this #uest, may count (291, 14.) 



126 IDYLLS OF THE KING. 

'69. Calling ' God speed !' but in the street below 

'94. Calling "God speed !" but in the ways below (292, 15.) 

'69. For sorrow, and in the middle street the §neen, 

'94. For grief, and all in middle street the §ueen, (292, 19.) 

'69. and I was left alone 

And wearied in a land of sand and thorns. 
" And on I rode and found a mighty hill, 
'94. and I was left alone 

And wearying in a land of sand and thorns. 

' And I rode on and found a mighty hill, (295, 6.) 

'69. 'That so cried upon me?' and he had 

'94. " That so cried out upon me?" and he had (295, 20.) 

'69. " Tlien rose a hill that none but man could climb, 
'94. ' There rose a hill that none but man could climb, 

(297, 24.) 
'69. Whither I made, and there was I disarmed 
'94. TJdther I made, and there was I disarm'd (301, 6.) 

'69. For Lancelot's kith and kin adore him so 

'94. For Lancelot's kith and kin so worship him (304, 5.) 

PELLEAS AND ETTAKRE. 

'69. Which ? tell us quickly." 

And Palleas gazing thought, 
" Is Guinevere herself so beautiful?" 
'94. Which ? tell us quickly.' 

Palleas gazing thought, 
' Is Guinevere herself so beautiful?' (317, 21.) 

'69. " Ay," thought Gawain, " and ye be fair enow : 

'94. ' Ay,' thought Gawain, ' and you be fair enow : (331, 1.) 



THE COMPLETED IDYLLS OF THE KING. 127 

'69. The night was hot : he could not rest, but rode 
Ere midnight to her walls, 

'94. Hot was the night and silent ; but a sound 
Of Gawain ever coming, and this lay — 
Wliich Pelleas had heard sung before the Queen, 
And seen her sadden listening — vext his heart, 
And marr'd his rest — ' A worm zuithin the rose.' 

1 A rose, but one, none other rose had I, 
A rose, one rose, and this was wondrous fair, 
One rose, a rose that gladden' d earth and sky, 
One rose, my rose, that sweeten' d all mine air — 
I cared not for the thorns ; the thorns were there. 

1 One rose, a rose to gather by and by, 
One rose, a rose, to gather and to wear, 
No rose but one — what other rose had I? 
One rose, my rose ; a rose that will not die, — 
He dies who loves it, — if the worm be there.' 

This tender rhyme, and evermore the doubt, 
1 Why lingers Gawain with his golden news f 
So shook him that he could not rest, but rode 
Ere midnight to her walls, 

(331, 8.) 

'69. Then he crost the court, 

And saw the postern portal also wide 
Yawning ; and up a slope of garden, all 
Of roses white and red, and white ones mixt 
And overgrowing them, went on, and found, 

'94. Then he crost the court, 

And spied not any light in hall or bower, 
But saw the postern portal also wide 
Yawning ; and up a slope of garden, all 
Of roses white and red, and brambles mixt 
And overgrowing them, went on, and found, 

(332, 9.) 



128 IDYLLS OF THE KING. 

'69. Then was he ware that white pavilions rose. 

Three from the bushes, gilden-peakt : 
'94. Then was he ware of three pavilions rear'd 

Above the bushes, gilden-peakt : (332, 18.) 

'69. O towers so strong, 

So solid, would that even while I gaze 
'94. O towers so strong, 

Huge, solid, would that even while I gaze (334, 3.) 

'69. " I have no name," he shouted, a " a scourge am I, 
'94. ' No name, no name/ he shouted, ' a scourge am I 

(338, 5.) 
'69. " Fight therefore," yelled the other, and either knight 
'94. ' Fight therefore,' yelled the youth, and either knight 

(338, 12.) 
THE LAST TOURNAMENT. 

'71. l Would rather ye had let them fall,' she cried, 
'94. ' Would rather you had let them fall,' she cried, 

(341, 19.) 
'71. But under her black brows a swarthy dame 
'72. But under her black brows a swarthy one (348, 22.) 

'71. Come — let us comfort their sad eyes, our Queen's 
'72. Come — let us gladden their sad hearts, our Queen's 

(349, 5.) 
'71. Then being ask'd, ' Why skipt ye not, Sir Fool?' 
'94. And being ask'd, ' Why skipt ye not, Sir Fool ?' 

(350, 14.) 
'71. Than any broken music ye can make.' 
'94. Than any broken music thou canst make.' (350, 17.) 

'71. Head-heavy, while the knights, who watch'd him, 

roar'd 

'94. Head-heavy; then the knights, who watch'd him, 

roar'd (359, 2.) 



THE COMPLETED IDYLLS OF THE KING. 129 

'71. Then, yell ivith yell echoing, they fired the tower, 
'94. Then, echoing yell with yell, they fired the tower, 

(359, 12.) 
'71. What, an she hate me now? I would not this. 

What an she love me still ? I would not that. 
'94. What, if she hate me now ? I would not this. 

What, if she love me still? I would not that. 

(360, 5.) 
'71. The greater man, the greater courtesy. 

But thou, thro' ever harrying thy wild beasts — 
'94. The greater man, the greater courtesy. 

Far other was the Tristram, Arthur's knight ! 
But thou, thro' ever harrying thy wild beasts — 

(365, 16.) 
'71. ' Vows ! did ye keep the vow ye made to Mark 
'94. ' Vows ! did you keep the vow you made to Mark 

(366, 15.) 
'71. Bind me to one? The great world£laughs at it. 
'72. Bind me to one ? The wide world laughs at it. 

(368, 1.) 
'71. He rose, he turn'd, and flinging round her neck, 
Claspt it ; but while he bow'd himself to lay 
Warm kisses in the hollow of her throat, 
Out of the dark, just as the lips had touch'd, 
Behind him rose a shadow and a shriek — 
'Mark's way,' said Mark, and clove him thro' the 
brain. 
'72. He rose, he turn'd, then, flinging round her neck, 
Claspt it, and cried ' Thine Order, my Queen /' 
But, while he bow'd to kiss thejeweWd throat, 
Out of the dark, just as the lips had touch'd, 
Behind him rose a shadow and a shriek — 
'Mark's way,' said Mark, and clove him thro' the 
brain. (370, 6.) 



130 IDYLLS OF THE KING. 

GUINEVEKE. 

'59. For hither had she fled, her cause of flight 
Sir Modred ; he nearest to the King, 
His nephew, ever like a subtle beast 
Lay couchant with his eyes upon the throne, 

'94. For hither had she fled, her cause of flight 
Sir Modred ; he that like a subtle beast 
Lay couchant with his eyes upon the throne, (371, 9.) 

'59. And then they were agreed upon a night 

(When the good King should not be there) to meet 
And part for ever. Passion-pale they met 

'94. And then they were agreed upon a night 

(When the good King should not be there) to meet 

And part for ever. Vivien, lurking, heard. 

She told Sir Modred. Passion-pale they met (374, 26.) 

'59. They found a naked child upon the sands 

Of wild Dundagil by the Cornish sea ; 
'94. They found a naked child upon the sands 

Of dark Tintagil by the Cornish sea; (382, 20.) 

'59. Came to that point, when first she saw the King 

'94. Came to that point where first she saw the King 

(387, 5.) 

'59. To speak no slander, no, nor listen to it, 
To lead sweet lives in purest chastity, 

'94. To speak no slander, no, nor listen to it, 
To honour his own word as if his God's, 
To lead sweet lives in purest chastity, (389, 22.) 

'59. And all this throve until I wedded thee I 

'94. And all this throve before I wedded thee, (390, 8.) 

'59. They summon me their King to lead mine hosts 
Far down to that great battle in the west, 



THE COMPLETED IDYLLS OF THE KING. 131 

Where I must strike against my sister's son, 
Leagued with the fords of the White Horse and knights 
Once mine, and strike him dead, and meet myself 
Death, or I know not what mysterious doom. 
'94. They summon me their King to lead mine hosts 
Far down to that great battle in the west, 
Where I must strike against the man they call 
My sister's son — no kin of mine, who leagues 
With Zords of the White Horse, heathen, and knights, 
Traitors — and strike him dead, and meet myself 
Death, or I know not what mysterious doom. (393, 16.) 

'59. I thought I could not breathe in that fine air 
That pure severity of perfect light — 
I wanted warmth and colour which I found 
In Lancelot — 

'94. I thought I could not breathe in that fine air 
That pure severity of perfect light — 
I yearn' d* warmth and colour which I found 
In Lancelot— (396, 14.) 

THE PASSING OF AKTHUK. 

'69. With whom he dwelt, new faces, other minds. 

Before that last weird battle in the West 
'94. With whom he dwelt, new faces, other minds. 
For on their march to westward, Bedivere, 

Who slowly paced among the slumbering host, 

Heard in his tent the moanings of the King : 
1 1 found Him in the shining of the stars, 

I marked Him in the flowering of His fields, 

But in His ways with men I find Him not. 

I waged His wars, and now I pass and die. 

me ! for why is all around us here 

* A misprint for yearned for found in other editions. 



132 IDYLLS OF THE KINO. 

As if some lesser god had made the world, 
But had not force to shape it as he would, 
Till the High God behold it from beyond, 
And enter it, and make it beautiful f 
Or else as if the world were wholly fair, 
But that these eyes of men are dense and dim, 
And have not power to see it as it is : 
Perchance, because we see not to the close ; — 
For I, being simple, thought to work His will, 
And have but stricken with the sword in vain ; 
And all whereon I leaned in wife and friend 
Is traitor to my peace, and all my realm 
Reels back into the beast, and is no more. 
My God, thou hast forgotten me in my death: 
Nay — God my Christ — I pass but shall not die.' 
Then, ere that last weird battle in the west, 

(399, 5.) 

'69. Once thine, whom thou hast loved, but baser now 
Than heathen scoffing at their vows and thee. 

'94. Once thine, whom thou hast loved, but grosser grown 
Than heathen, spitting at their vows and thee. 

(401, 18.) 

'69. " Far other is this battle in the West 

Whereto we move, than when we strove in youth 
And thrust the heathen from the Roman wall, 
And shook him thro' the north. 

'94. ' Far other is this battle in the west 

Whereto we move, than when we strove in youth 
And brake the petty kings, and fought with Rome, 
Or thrust the heathen from the Roman wall, 
And shook him thro' the north. (401, 22.) 

'69. And the long mountain ended in a coast 

'94. And the long mountains ended in a coast (402, 17.) 



THE COMPLETED IDYLLS OF THE KINO. 133 

'69. only the waste wave 

Brake in among dead faces, 
'94. only the wan wave 

Brake in among dead faces, (404, 10.) 

'69. And dropping bitter tears against his brow 

Striped with dark blood : 
'94. And dropping bitter tears against a brow 

Striped with dark blood : (414, 15.) 

'69. And on the mere the wailing died away. 

At length he groaned, and turning slowly clomb 
The last hard footstep of that iron crag ; 
'94. And on the mere the wailing died away. 

But when that moan had past for evermore, 
The stillness of the dead world's winter dawn 
Amazed him, and he groan' d, ' The King is gone.' 
And therewithal came on him the weird rhyme, 
* From the great deep to the great deep he goes.' 
Whereat he slowly turn'd and slowly clomb 
The last hard footstep of that iron crag; (416, 26.) 

'69. E'en to the highest he could climb, and saw, 

'94. Ev'n to the highest he could climb, and saw, (417, 22.) 

3. The Growth in the Plan of the Poem as indicated 
by the Changes made in the Language. 

Assuming that the " Idylls of the King" is a 
single poem, an organic unity, and therefore to be 
ranked with the " In Memoriam" as one of the two 
great works upon which the poet's fame will ulti- 
mately rest as being not only a singer of exquisite 
lyrics but also a maker of great poems, it may yet 
be questioned how clearly the poet had the plan of 



134 IDYLLS OF THE KING. 

the whole in mind when he published the first poems 
of the series. The changes made in these poems, 
aside from their bearing upon the development of 
the poet's literary art, have an importance from the 
light thereby thrown upon the growth of the plan 
of the poem in the poet's mind. 

A frequently recurring change made in the poems 
of the first series of the " Idylls of the King" is the 
change of the pronouns and the verbs connected 
therewith from the ordinary to the archaic form, — 
from you to ye, your to thy, have to hast, does to doth, 
etc. The list following shows the date when these 
changes were made in the two poems of the '57 copy. 
It will be noticed that this change to the archaic form 
began even in the first ('59) edition. Many of the 
changes were made in the '69 edition. The poet made 
the changes in the latter portion of " Enid" in '69 
(with two exceptions), leaving the first portion 
largely untouched until '73. In " Vivien" also the 
changes were made mainly in the '73 edition. 

Changes in Pronouns and Verbs from the Ordi- 
nary to the Archaic Form. 

" Enid." 

PAGE. LINE. '57. '69. '73. 

90 7 you ... thou 
7 your ... thy 

95 24 You [Ye '59] ... 

96 2 you ye 

26 you ye 

99 7 you ... ye 



THE COMPLETED IDYLLS OF THE KING. 135 



'69. '73. 

ye 



PAGE. 


LINE. 


'57. 


101 


19 


you 


102 


2 


you 


103 


24 


your 


... 


24 


yours 


104 


13 


you 


... 


13 


have 


... 


13 


can 




15 


Your 


111 


25 


you 


112 


14 


you 


113 


8 


you 


... 


15 


you 


115 


18 


your 


120 


2 


you 


... 


4 


you 


... 


4 


your 


122 


16 


you 


... 


16 


you 


125 


3 


You 


... 


7 


you 


127 


21 


you 


128 


10 


You 


... 


17 


you 


... 


17 


are 


... 


19 


you 


... 


20 


you 


129 


25 


you 


131 


13 


does 




20 


has 


... 


22 


You 


132 


7 


You 


... 


9 


does 


... 


18 


you 



ye 

ye 
ye 



Ye 

ye 

Ye 



ye 



ye 

thine 

thine 

thou 

hast 

canst 

Thy 



ye 



thy 

ye 

thee 
thy 

ye 
ye 



thou 

thou 
art 

thee 

ye 

doth 

hath 

Ye 

Ye 

doth 

ye 



136 


IDYLLS OF THE 


KING. 


PAGE. 


LINE. 


'57. 


'69. 


... 


24 


no 


... 


... 


25 


you 


... 


133 


7 


you 


... 


135 


17 


Your [Thy '59] ... 


... 


21 


You 


Ye 


... 


24 


you 


ye 


... 


26 


you 


ye 


136 


8 


you 


ye 


137 


4 


You 


Ye 


138 


21 


you 


ye 


... 


24 


you 


ye 


141 


5 


you 


ye 


... 


5 


you 


ye 


... 


8 


You 


Ye 


... 


13 


you [ye '59] 


... 


144 


7 


you 


... 


146 


4 


you 


ye 


146 


10 


you 


ye 


... 


15 


you 


ye 


151 


14 


you 


ye 


... 


19 


you 


ye 


154 


15 


you 


ye 


... 


23 


you 


ye 


... 


24 


you 


ye 


155 


3 


does 


... 






"Nimue" ("Vivien"). 


191 


21 


you 


ye 


... 


22 


you 


ye 


... 


23 


you 


ye 


193 


2 


you 


... 


... 


20 


yes 


... 


... 


21 


you 


... 


•** 


24 


you 


... 



73. 

nay 

ye 

thee 



ye 



doth 



ye 

ay 
ye 

ye 



THE COMPLETED IDYLLS OF THE KINO. 137 



PAGE. 


LINE. 


'57. 


'69. 


'73. 


194 


22 


you 


ye 




... 


23 


you 


ye 




195 


7 


you 


... 


ye 


... 


17 


you 


... 


ye 


196 


9 


you 


ye 




... 


14 


you 


ye 




197 


3 


you 


... 


ye 


... 


11 


you 


... 


ye 


198 


4 


you 


ye 




199 


25 


you 


ye 




200 


21 


you 




ye 


... 


23 


you 




ye 


201 


19 


you 




ye 


... 


19 


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ye 


202 


20 


you 




ye 


... 


20 


you 




ye 


203 


2 


you 




ye 


... 


2 


you 




ye 


... 


19 


you 




ye 


204 


1 


you 




ye 


... 


5 


you 






206 


2 


Your 




Thy 


... 


2 


yourself 




thyself 


208 


1 


you 




ye 


... 


16 


You 




Thou 




25 


you 




thou 


209 


12 


you 




ye 


... 


12 


swore 




sware 


... 


12 


you 




ye 


... 


14 


you 




ye 


210 


1 


you 




ye 




2 


you 




ye - 


211 


1 


are 




art 



138 



IDYLLS OF THE KING. 



PAGE. 


LINE. 


'57. 


'69. 


'73. 


... 


1 


you 




thou 


212 


22 


you 




ye 


213 


4 


you 




ye 


218 


22 


has 




hath 


219 


1 


you 




thee 


... 


2 


you 




thee 


... 


3 


your 




thy 



In comparison with the later members of the poem 
the first four members as originally published are in 
their literary form and language stories of the past 
told in the language of the present. The changes 
to the archaic form of speech throw a different 
coloring over the whole. We feel in the later mem- 
bers of the series a different poetical atmosphere. 
Not only are the stories told stories of the past, but 
the language also becomes the language of the past. 
The very form of speech carries us back in spirit to 
that mythical time when King Arthur with his 
mystic sword, Excalibur, that rose from out the 
bosom of the lake, "drave" the heathen out, and 
after slew the beast, and fell'd the forest, letting 
in the sun. And heeding then the call of his 
brother king, Leodogran, on whom the heathen 
horde " brake," 

Eeddening the sun with smoke and earth with blood, 
And on the spike that split the mother's heart 
Spitting the child, 

he arose and came. And before his voice they 
swerved and " brake" flying. And then he felt the 
light of Guinevere's eyes into his life smite on the 



THE COMPLETED IDYLLS OF THE KING. 139 

sudden and he felt travail, and throes and agonies of 
the life, desiring to be joined with Guinevere, until 
they " sware" at the shrine of Christ a deathless love 
and had power on the dark land to lighten it. Then, 
relying upon the puissance of his Table Bound, 
Arthur "spake" at the marriage banquet denying 
the tribute to the great Lords of Eome. And Ar- 
thur strove with Rome, and made a realm and 
reigned. 

It is true that these archaic forms of speech are 
not entirely wanting in the poems of the first series. 
We find even in the '57 copy an occasional spake 
and brake and drave and clave, though the ordinary 
forms predominate. But in the later poems the 
archaic forms predominate. Indeed, there is not a 
single use of the form " spoke" in the " Coming of 
Arthur," though " spake" occurs many times. 

In the "Morte d' Arthur" of 1842 we have in 
nearly every case the archaic form of the pronouns 
and the verbs. In the '59 edition we have as 
uniformly the ordinary forms. These were later 
changed to the archaic forms. If in '59 the poet 
had a definite plan of connecting these poems with 
the "Morte d' Arthur" into an epic of King Arthur, 
then the query suggests itself why he did not in 
the first edition of these poems use these archaic 
forms which he had already employed in the " Morte 
d' Arthur," which he used in the later members of 
the poem, and to which in some two hundred in- 
stances the verbs and pronouns of the first series 
were changed in the second or the third edition of 
these poems. 



140 IDYLLS OF THE KING. 

To Stopford A. Brooke, with the introduction of 
the allegory into the poem in 1869, " the inner in- 
tention of the whole poem seems to be changed." 
It was perhaps with this introduction of the alle- 
gory that the change to the archaic language was 
determined upon in order to heighten the effect of 
the allegory by removing "some modern touches 
here and there" in the language. This use of ar- 
chaic language supports the symbolism in transform- 
ing him who had been the resplendent top of human 
excellence, " a modern gentleman of stateliest port," 
into a type as well, a type of the Conscience, of the 
higher soul of man. 

4. The Growth in the Plan of the Poem as indi- 
cated by the Changes made in Consequence 
of the Introduction of the Allegory. 

In the epilogue " To the Queen" occur the lines, 

. . . But thou, my Queen, 
. . . accept this old imperfect tale, 
New-old, and shadowing Sense at war with Soul 
Rather than that old gray king, whose name, a ghost, 
Streams like a cloud, man-shaped, from moutain peak 
And cleaves to cairn and cromlech still ; 

In the first series of this poem there was nothing of 
this "shadowing Sense at war with Soul." The 
king, who becomes to some extent " a ghost" in the 
later poems, a type* of the "higher soul of man," 

* " Now this higher soul of man, in its purity, in its justice, 
in its nobleness, in its self-denial, we understand Mr. Tenny- 



THE COMPLETED IDYLLS OF THE KINO. 141 

"the Conscience," "the innate moral sense," ap- 
peared in none of these aspects in the early poems. 
And in none of the early reviews was he taken as 
" figuring forth" the Conscience or any other of the 
moral virtues. In Blackwood's Magazine (Novem- 
ber, 1859) we read, " Lancelot is the favorite of the 
old romances; Mr. Tennyson makes him a more 
noble-minded man than they do, and yet elevates 
Arthur, the man who endures, immeasurably high 
above Lancelot, the man who inflicts the injury." 
Gladstone said, "We know not where to look in 
history or in letters for a nobler and more over- 
powering conception of man as he might be than in 
the Arthur of this volume. Wherever he appears 
it is as the great pillar of the moral order, and the 
resplendent top of human excellence." 

But since 1869 Sense is manifestly more or less at 
war with Soul in the poem, though the allegory does 
not impress all readers with equal prominence. To 
Andrew Lang the blameless King now becomes 
almost too obviously allegoric. " It is not so much 
the fault of the Laureate's genius, as of literary 
necessity, that the ' Idylls' are almost too obviously 

son to figure forth by ' the King.'" — The Dean of Canterbury 
in the Contemporary Review, London, January, 1870. 

This exposition is of especial value because its author (a 
life-long friend, one of the Cambridge circle of gifted youth 
which included Tennyson and Arthur Hallam) is presumably 
giving the poet's own interpretation of his poem. Dean Al- 
ford's words expressly are, " This exposition, — which is not, 
we beg to say, a mere invention of our own, — " 



142 IDYLLS OF THE KINO. 

allegoric. . . . The voice is not the voice of the 
Arthur whom we knew. The knight has become a 
type ; a type he remains through the cycle of the 
'Idylls of the King.' It is not our Arthur who 
preaches to the penitent Guinevere : the King has 
become the Conscience."* Professor Dowden has 
written, " What is the central point in the ethical 
import of the Arthurian story as told by Mr. Tenny- 
son? It is the assertion that the highest type of 
manhood is set forth in the poet's ideal King, and 
that the worthiest work of man is work such as 
his." f Henry Elsdale, in a work J which was the 
first elaborate explanation of the allegory in the 
" Idylls of the King," manifestly regards Arthur as 
a man with human imperfections no less than as a 
type of the higher soul of man. Of the farewell at 
Almesbury he has written, " Instead of declaiming 
against his poor prostrate wife in the convent, from 
the vantage-ground of a lofty and irreproachable 
morality, he should rather have knelt down in the 
dust beside her and confessed that he himself was 
partly to blame — that he had never loyally striven 
to understand her, to meet her just claims, to enter 
into her wishes, to share her thoughts — in fact, 
that he had neglected the wife for whose safe cus- 
tody he was responsible before his God." Others 
detect in these lofty reproaches a vein of " insuf- 

* Sommer's " Le Morte Darthur." 

f "Studies in Literature," London, 1878. 

% "Studies in the Idylls," London, 1878. 



THE COMPLETED IDYLLS OF THE KING. 143 

ferable self- righteousness," not to say " priggish- 
ness." He who to one is the voice of the Con- 
science is to another sejf-righteous and priggish. 
To the latter at least the King is not " too obviously 
allegoric." 

Our concern is not, however, with the allegory 
itself, but with the changes made in the poems of 
the first series in consequence of the introduction of 
the allegory. 

In 1859, when there was no thought of making 
the Lady of the Lake symbolical of religion, she 
was merely one of the fairies whose custom was to 
" steal babies," * and she " stole" Lancelot from his 
mother's arms and chanted snatches of " mysterious 
songs." But with the change in the conception of 
the Lady of the Lake in 1869 this description was 
no longer congruous, and she now " caught" Lance- 
lot from his mother's arms, she 

— the wondrous one 
Who passes thro' the vision of the night — 
She chanted snatches of mysterious hymns 

Thus by the substitution of two words and the 
addition of one line the babe-stealing fairy of the 

* " In all this we recognize the familiar figure of the heroine 
of many a Celtic tale ; she steals babies. . . . The Lady of the 
Lake had a very distinct object in view in appropriating the 
child Lancelot. . . . She took him to her own land, consisting 
of an isle surrounded by impassable walls in the middle of the 
sea, whence the fairy derived her name of la Dame du Lac, or 
the Lady of the Lake, and her foster-son that of Lancelot du 
Lac." — J. Ehys, " Studies in the Arthurian Legend," p. 128. 



144 IDYLLS OF THE KINO. 

'59 edition becomes the Church in '69, and it may 
now be fitly said of her in the " Coming of Arthur" 
that 

She gave the King his huge cross-hilted sword, 
Whereby to drive the heathen out : a mist 
Of incense curl'd about her, and her face 
Wellnigh was hidden in the minster gloom ; 
But there was heard among the holy hymns 
A voice as of the waters, 

In 1859, Arthur the king was a man and Modred 
and (xawain were his nephews. It is true that the 
poet has said that by Arthur he always meant the 
soul.* However, with the introduction of the al- 
legory into the later poems, the statement of his 
relationship to Modred and Grawain was omitted. 
Indeed, an explicit denial of the relationship was 
introduced. In '59, Arthur, referring to the un- 
known victor (Lancelot) sore wounded in the 
diamond joust at Camelot, said, 

He must not pass uncared for. Gawain, rise, 
My nephew, and ride forth and find the knight. 

These lines now read, 

*"Of the 'Idylls of the King' he said, 'When I was 
twenty-four I meant to write a whole great poem on it, and 
began it in the " Morte d' Arthur." I said I should do it in 
twenty years ; but the Eeviews stopped me. ... By King 
Arthur I always meant the soul, and by the Bound Table 
the passions and capacities of a man. There is no grander 
subject in the world than King Arthur.' " — James Knowles, 
The Nineteenth Century, London, January, 1893. 



THE COMPLETED IDYLLS OF THE KINO. 145 

He must not pass uncared for. Wherefore, rise, 
Gawain, and ride forth and find the knight. 

In '59, Guinevere had fled to the holy house at 

Almesbury, 

her cause of flight 
Sir Modred ; he nearest to the King, 
His nephew, ever like a subtle beast 
Lay couchant with his eyes upon the throne, 

lines which now read, 

her cause of flight 
Sir Modred ; he that like a subtle beast 
Lay couchant with his eyes upon the throne, 

In '59, while Arthur is bidding Guinevere farewell 
and has expressed the hope that hereafter they two 
may meet before high God, he hears a trumpet blow 
and says, Now must I hence, 

They summon me their King to lead mine hosts 
Far down to that great battle in the west, 
Where I must strike against my sister's son, 

a line which was changed to 

Where I must strike against the man they call 
My sister's son — no kin of mine, 

In chapter ii. there is a discussion of the signifi- 
cance of the omission of the line, 

And troubled in his heart about the Queen. 

A change made in a line of " Lancelot and Elaine" 
was apparently made with the same purport, viz., 

10 



146 IDYLLS OF THE KING. 

to justify the guilelessness of the King in the early- 
portion of the poem by omitting or revising those 
lines not consistent with the King's declaration to 
Guinevere near the close of the poem that he had 
been 

Too wholly true to dream untruth in thee. 

In '59, Arthur, expressing his regret that Lancelot 
had not loved the lily maid of Astolat, whose "gor- 
geous obsequies" had now been celebrated, said to 
him, 

I would to God, 
For the wild people say wild things of thee, 
Thou couldst have loved this maiden, shaped, it seems 
By God for thee alone. 

The " wild things" which the " wild people" were 
saying of Lancelot was, perhaps, 

Lo the shameless ones, who take 
Their pastime now the trustful King is gone ! 

By putting in place of the line, 
For the wild people say wild things of thee, 

the line, 

Seeing the homeless trouble in thine eyes, 

Arthur is made less liable to the charge of obtuse- 
ness in that he is not represented as closing his ears 
to testimony, but is represented rather as attributing 
to homelessness the trouble in the eyes of him with 
whom he, at the close of the great day when the 



THE COMPLETED IDYLLS OF THE KINO. 147 

heathen were put to rout and each had warded either 
in the fight, 

Sware on the field of death a deathless love. 

' Man's word is God in man ; 
Let chance what will, I trust thee to the death.' 

After this glorious vow, if such vows be indeed 
more than the wholesome madness of an hour, who 
would wish the blameless King to be less guileless, 
or to sully with suspicion his soul, who would not 
wish him to rather die than doubt his warrior whom 
he loved and honored most. Let chance what will, I 
trust thee to the death. 

5. The Philological Study of the Poetry of 
Tennyson. 

The " Idylls of the King" resembles Goethe's 
" Faust," not only in the use of legendary material 
and in having an allegorical signification, but also in 
respect to the length of time during which it grew 
into completeness, and a comparative study of the 
language and the matter of the earlier and the later 
portions will doubtless repay the philological inves- 
tigator with some portion of the rich results already 
derived from a similar study of " Faust." 

Not alone the " Idylls of the King," but also the 
poetry of Tennyson in general, gives opportunity for 
such study in consequence of the changes made in 
successive editions of these poems. And inasmuch 
as Tennyson is a consummate literary artist, " the 
first of English poets in making the art of expression 



148 IDYLLS OF THE KING. 

a luxury and an ornament," these changes have a 
value to those who would therefrom study the work- 
ings of the poet's mind and discover the method of 
workmanship and the literary art of him who is 
" one of the greatest masters of metre, both simple 
and sonorous, that the English language has ever 
known." 

And not only an appreciation of Tennyson's liter- 
ary art, but also a knowledge of his final view of 
life, is acquired by this study. Stopford A. Brooke 
speaks of "the sceptical trouble of the confused and 
wavering time during which the ' Idylls' were writ- 
ten. . . . Few then kept their faith, whether in God 
and Man, or Man alone. . . . And the 'Idylls of 
the King' represent this wavering between hope and 
despondency, between faith and unfaith in either 
God or man." 

And this wavering in the poet's view of life could 
be distinctly traced in his works by determining the 
order in which the various portions thereof were 
written. In the earliest ' Idyll,' the " Enid" of the '57 
copy, we hear the song of brave-hearted Enid, broken 
in fortune but not in spirit, the song of Fortune and 
her wheel, 

Turn, Fortune, turn thy wheel with smile or frown ; 
With that wild wheel we go not up or down ; 
Our hoard is little, but our hearts are great. 

Thy wheel and thee we neither love nor hate, 
For man is man and master of his fate. 



THE COMPLETED IDYLLS OF TEE KING. 149 

In the year after the last " Idyll" was published we 
read in " Locksley Hall Sixty Years After," 

Follow Light, and do the Right — for man can half-control 
his doom. 

Though this is not a cry of despair, but rather a 
brave recognition that the Present is fatal Daughter 
of the Past, by one who is none the less hopeful that 
Love will conquer at the last, yet there is not here 
the exultant Vision of the world and all the wonder 
that would be of the early poems, nor is there here 
the serene faith of the work of the poet's old age. 

It is, then, not a matter of indifference to the 
student of Tennyson that the noble passage in " The 
Passing of Arthur" celebrating the power of prayer 
was in the " Morte d' Arthur" of the young poet in 
1842, 

Pray for my soul. More things are wrought by prayer 

Than this world dreams of. Wherefore, let thy voice 

Rise like a fountain for me night and day. 

Por what are men better than sheep or goats 

That nourish a blind life within the brain, 

If, knowing God, they lift not hands of prayer 

Both for themselves and those who call them friends ? 

For so the whole round earth is every way 

Bound by gold chains about the feet of God, 

and that the following passage with its note of un- 
certainty appeared somewhat more than thirty years 
later, 

' I found Him in the shining of the stars, 
I mark'd Him in the flowering of His fields, 
But in His ways with men I find Him not. 



150 IDYLLS OF THE KING. 

I waged His wars, and now I pass and die. 
O me ! for why is all around us here 
As if some lesser god had made the world, 
But had not force to shape it as he would, 
Till the High God behold it from beyond, 
And enter it, and make it beautiful ? 
Or else as if the world were wholly fair, 
But that these eyes of men are dense and dim, 
And have not power to see it as it is: 
Perchance, because we see not to the close ; — 
For I, being simple, thought to work His will, 
And have but stricken with the sword in vain ; 
And all whereon I lean'd in wife and friend 
Is traitor to my peace, and all my realm 
Keels back into the beast, and is no more. 
My God, thou hast forgotten me in my death : 
Nay — God my Christ — I pass but shall not die.' 

This view of life, 

For so the whole round earth is every way 
Bound by gold chains about the feet of God, 

is thirty years older than the despondent cry, 

My God, thou hast forgotten me in my death. 

Had the despondent view of life been the earlier 
and outworn creed, or had the poet, ere he closed 
the volume of the " Idylls of the King," already 
passed into that later serene faith which found ex- 
pression in those faultless lyrics of his old age 
wherewith the arches of the Minster of the West 
re-echoed when his earth was laid to earth, "The 
Crossing of the Bar," and " The Silent Voices," then 



THE COMPLETED IDYLLS OF THE KING. 151 

perhaps had there been throughout the " Idylls of 
the King" less of 

For all my mind is clouded with a doubt, 

less of 

The darkness of that battle in the West, 
Where all of high and holy dies away 

with which the poem closes, and there had been 
more of the serene faith of the poet's later years, 
the clear call 

Forward to the starry track 
Glimmering up the heights beyond me 
On, and always on ! 

more of the exultant expression of poetic faith in 
that aftermath of Arthurian story, " Merlin and the 
Gleam," that prophet-cry to the young to follow 
their noblest ideals, to follow the Gleam, 

O young Mariner, 
Down to the haven, 
Call your companions, 
Launch your vessel, 
And crowd your canvas, 
And, ere it vanishes 
Over the margin, 
After it, follow it, 
Follow The Gleam. 



APPENDIX. 



1. A Hitherto Unpublished Version of Tennyson's 
" To the Queen." 

The noblest men are born & bred 
Among the Saxo Norman race 
And in this world the noblest place 

Madam, is yours our Queen & Head. 

Your name is blown on every wind, 
Your flag thro' Austral ice is borne 
And glimmers to the Northern morn 

And floats in either golden Ind. 

The Poets they * that often seem 

So wretched touching mournful strings 
They likewise are a kind of kings 

Nor is their empire all a dream. 

Their words fly over land & main 

Their warblings make the distance glad 
Their voices heard hereafter add 

A glory to a glorious reign. 

A work not done by flattering state 
Nor such a lay should kings receive 
And kingly Poets should believe 

The kings heart true as he is great. 

* There is in the MS. another they in this line crossed out 
by the pen. 
152 



APPENDIX. 153 

The taskwork ode has ever fail'd : 

Not less the king in time to come 

Will seem the greater under whom 
The sacred Poets have prevail'd. 

I thank you that your Royal Grace 

To one of less desert allows 

This laurel greener from the brows 
Of him that utter' d nothing base 

I would I were as those of old 
A mellow mouth of song to fill 
Your reign with music wh might still 

Be music when my lips were cold 

That after men might turn the page 

And light on fancies true & sweet 

And kindle with a loyal heat 
To fair Victorias golden age 

But he your Laureate who succeeds 

A master such as all men quote 

Must feel as one of slender note 
And piping low among the reeds. 

Yet if your greatness & the care 
That yokes with splendour, yield you time 
To seek in this your Poet's rhyme 

If aught of good or sweet be there 

Take, Madam, this poor book of song 
For tho the faults were thick as dust 
In vacant chambers I could trust 

Your kindness. May you rule us long 



154 IDYLLS OF THE KING. 

And leave us scions of your blood 

As noble till the latest day. 

May children of our children say 
She wrought her people lasting good 

The MS. copy of the above poem, hitherto un- 
published, is in the Library of the Drexel Institute, 
Philadelphia. The difference between this early 
form of the poem, which is perhaps the first draft, 
and the poem as now published illustrates strikingly 
the poet's habit of revision. But four of the thir- 
teen stanzas given above (and three of these in a 
revised form) are to be found in recent editions of 
the poet's works. Nine of the thirteen stanzas are 
now published for the first time. 

This MS. copy was in the possession of the late 
George W. Childs. The history of the MS. will be 
given in a monograph describing the MSS. collected 
by George W. Childs and presented by him to the 
Library of the Drexel Institute. To the kindly 
interest and suggestion of the author of this forth- 
coming monograph, Mr. John Thomson, Librarian 
of the Free Library of Philadelphia, I am indebted 
for the knowledge of the existence of this MS. 

Among the objects of interest in this collection, 
which will be described in the monograph, now in 
preparation, are an original copy of Andre's " Cow 
Chace," * original manuscripts by Dickens, Lord Lyt- 

* "An heroic poem in three cantos, published in London 
in 1781. It was originally published in Kivington's Eoyal 
Gazette, N. York, in the morning of the day on which Andre 



APPENDIX. 155 

ton, Cotton Mather, Leigh Hunt, Tom Moore, and 
among the most interesting two leaves of a version 
of Schiller's "Demetrius," differing from the same 
as finally published. 

2. Tennyson's Punctuation and Use of Capital 
Letters. 

The number of lines in the '57 copy, "Enid and 
Nimue : The True and the False," is 2631, and there 
have been 431 changes in punctuation in these lines. 
This number would be materially increased did one 
compare the poem as now published, not with the 
'57 copy, but with the South Kensington Museum 
"Enid" or with the manuscript itself. There have 
been made also 97 minor typographical corrections 
to the '57 copy. This in addition to the hundreds 
of changes in single words * or in entire sentences. 

was taken prisoner. The last stanza, intended to ridicule Gen. 
"Wayne for his failure in an attempt to collect cattle for the 
army, is this : 

' And now I've closed my epic strain ; 

I tremble as I show it, 
Lest this same warrior-drover Wayne 

Should ever catch the poet !' " 
Allibone's Dictionary of Authors, J. B. Lippincott Co., Phila. 

* The following verbal variations, in addition to the varia- 
tions given in Chapter II., are believed to make the list com- 
plete so far as the '57 copy is concerned. Mere typographical 
variations are not given : 

'57. Far liever had I gird his harness on him, 

'73. Farlie/er had I gird his harness on him, (88, 22.) 



156 IDYLLS OF THE KING. 

From these facts it were easy to premise that which 
the poem " To the Queen," as above published, con- 
firms, viz., that Lord Tennyson gave little heed to 

'57. ' Thou art not worthy ev'n to speak to him.' 

'59. ' Thou art not worthy ev'n to speak of him ;' (92, 23.) 

'57. Indignant to the Queen ; at which Geraint 

'69. Indignant to the Queen; whereat Geraint (92, 26.) 

'57. In a long valley, on one side of ichich, 

'66. In a long valley, on one side whereof, (94, 16.) 

'57. Far liever by his dear hand had I die 

'73. Far lie/er by his dear hand had I die, (122, 5.) 

'57. And into no Earl's place will I go. 

'59. And into no Earl's palace will I go. (128, 24.) 

'57. He moving homewards babbled to his men 

'59. He moving homeward babbled to his men, (133, 22.) 

'57. In combat with the follower of the Earl, 

'59. In combat with the follower of Limours, (139, 8.) 

'57. ' Not so ; not dead !' she answer'd in all haste. 

'59. 'No, no, not dead!' she answer'd in all haste. (140, 25.) 

'57. And at the last he waken'd from his swoon, 

'59. Till at the last he waken'd from his swoon, (142, 16.) 

'57. Who love yon prince with something of the love 

'59. Who love you, Prince, with something of the love (150, 20.) 

'57. Than if a knight of mine, 

'59. Than if some knight of mine, (155, 16.) 

'57. And so she follow'd Merlin all the way, 

'59. And then she follow'd Merlin all the way, (190, 15.) 

'57. Nor yet so strange as you yourself are strange, 

'78. No* yet so strange as you yourself are strange, (194, 20.) 



APPENDIX. 157 

punctuation, the use of capital letters, and such-like 
niceties of composition upon which much stress is 
sometimes laid as a means toward developing the 
art of authorship in the as yet mute and inglorious 
Miltons of our schools. 

True, there are in the '57 copy some 41 manuscript 
corrections to the punctuation, but there are alto- 
gether 431 changes in punctuation, and it is hardly 
probable that the poet indicated all of these upon 
some other of the " six trial copies printed." 

K. It buzzes wildly round the point ; 
'73. It buzzes fiercely round the point; (199, 13.) 

'57. Were proving it upon me, and that I lay 

'59. Were proving it on me, and that I lay (199, 17.) 

'57. True : Love, tho' Love were of the grossest, 

'73. Yea ! Love, tho' Love were of the grossest, (200, 16.) 

'57. So lean, his eyes were monstrous, but the skin 

'59. So lean his eyes were monstrous; while the skin (206, 24.) 

'57. But since he kept his mind on one sole aim, 

'59. And since he kept his mind on one sole aim, (207, 1.) 

'57. And darkling felt the sculptured ornaments 

'59. And darkling felt the sculptured ornament (211, 9.) 

'57. And want the will to lift their eyes and see 

'59. Without the will to lift their eyes, and see (215, 11.) 

'57. And while she sat, 

'59. There while she sat, (218, 2.) 

'57. Who knows, once more. 0, what was once 

'75. Who knows? once more. Lo ! what was once (218, 21.) 

K. Farewell, — think kindly of me, 
'59. Farewell; think gently of me, (218, 24.) 



158 IDYLLS OF THE KINO. 

It is manifest from the changes made since the 
publication of the '57 copy (no less than from the 
MS. above published) that the poet followed no con- 
sistent rule for the use of capital letters. Indeed 
there is in his poems no consistent use of capitals in 
any edition. "We find in the same poem queen and 
Queen, earl and Earl, prince and Prince, heaven and 
Heaven, king and King. In the '57 copy, though 
we find the Queen, the Earl, etc., we have uniformly, 
except on two pages (at the beginning of " Nimue") 
king with a small k. Apparently another compositor 
began to " set up" " Nimue," and after two pages 
were in type he was called from the work or directed 
to change to a small k in the case of the word king. 
On these two pages where we find the King in '57 
we find also Bard, Wizard, Seer, which elsewhere in 
the '57 copy are bard, wizard, seer. 

In the '59 edition we find for some 87 pages king, 
then King until within 10 pages of the close, where 
we have king again. The change from King to king 
is made in the middle of page 134. 

The '69 edition follows the '59 uniformly in this 
respect. In '73 we have in every case the King, 
even when the King is not King Arthur. In '92 
we have "a petty king," "his brother king," "the 
kings ? " "this king," "a King," "the Cornish king," 
"the holy king," but always "the King." We have 
"this last, dim, weird battle of the west," and "a 
bitter wind, clear from the North," "they came. . . . 
toward the sunrise," and " we have heard from our 
wise men at home to Northward." Manifestly, the 



APPENDIX. 159 

variations in the use of capital letters preclude any 
possibility of finding a rule for their use. 

3. Is there another '57 Copy in Existence? 

In a review of the " Idylls of the King" in the 
North British Beview (August, 1859) occurs a line, 
presumably quoted from the poem, " Snatching his 
great limbs from the bed." But this form of the 
line is not quoted from the first ('59) edition of the 
" Idylls of the King" which the reviewer was dis- 
cussing, but is a reminiscence of the '57 copy. In 
the '59 edition the line is, 

At this he hurPd his huge limbs out of bed, 

In the '57 copy we find, not exactly " Snatching his 
great limbs from the bed," but 

At this he snatched his great limbs from the bed, 

How did the line from the '57 unpublished copy 
get into a review of the first published edition? 
Manifestly, in case the reviewer quoted only the 
lines which are exactly alike in the '57 copy and the 
'59 edition no inferences are possible. But if he 
quoted some of the lines which differ in the '57 copy 
and the '59 edition, and quoted them as they are 
given in the '57 copy, then some inference may 
properly be drawn as to the text which he had be- 
fore him as he wrote. 

In general the quotations from the poem as given 
in the review agree with the '59 edition, even in the 



160 IDYLLS OF THE KINO. 

cases in which the '59 edition differs from the '57 
copy. There are, however, the following striking 
similarities with the '57 copy : 

'57. At this he snatched his great limbs from the bed, 
Rev. Snatching his great limbs from the bed, 

'59. At this he hurPd his huge limbs out of bed, 

'57. In combat with the follower of the Earl, 
Eev. In combat with the follower of the earl, 
'59. In combat with the follower of Limours, 

'57. At Merlin's feet the wileful Nimue lay. 
Rev. At Merlin's feet the wilful Vivien lay. 
'59. At Merlin's feet the wily Vivien lay. 

It is patent that the writer of the review had read 
the '57 version of " Enid and Nimue," even if he had 
not one of the " six trial-copies printed" before him 
as he wrote. On being shown the similarities above 
quoted, Dr. Richard Garnett, Keeper of Printed 
Books of the British Museum, and also one of his 
assistants, independently suggested the poet Coven- 
try Patmore as being in all probability the writer 
of the review ; or, if not he, then Lord Houghton. 
Both of these authors were intimate friends of Ten- 
nyson, and both were at that time frequent contrib- 
utors to the North British Review. 

The belief of the makers of the catalogue in the 
Library of the British Museum that "This copy, 
bearing Lord Tennyson's autograph inscription," is 
" the sole survivor of six trial-copies printed" is 
based, we must assume, upon good grounds. Yet if 



APPENDIX. 161 

it is not more than " believed," if it is not positively 
known, that the remaining five trial-copies have been 
destroyed, it is possible that another copy, showing 
some of the many corrections adopted in the '59 
edition but not contained in the British Museum 
copy, and showing also, perhaps, many tentative 
revisions not adopted, may yet be found in the 
library of either Mr. Coventry Patmore or Lord 
Houghton. 



THE END. 



11 



